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THE   BETROTHAL 
A  SEQUEL  TO  THE  BLUE  BIRD 


THE  WORKS  OF   MAURICE   MAETERLINCK 

ESSAYS 

The  Treasure  of  the  Humble 

Wisdom   and  Destiny 

The  Life  of  the  Bee 

The  Buried  Temple 

The  Double  Garden 

The  Measure  of  the  Hours 

On  Emerson,  and  Other  Essays 

Our   Eternity 

The  Unknown  Guest 

The  Wrack  of  the  Stobm 


PLAYS 

Sister  Beatrice,  and  Ardiane  and  Barbe  Bleue 

JOVZELLE,    AND    MoNNA    VaNNA 

The  Blue  Bird,  A  Fairy  Play 
Mary   Magdalene 

PiLLiAS   AND    M^LISANDE,    AND   OthER    PlAYS 

Princess  Maleine 

The  Intruder,  and  Other  Plays 

Aglavaine  and  Selysette 

The  Miracle  of  Saint  Anthony 

The  Betrothal;   A    Sequel  to   The  Blue   Bird 

Poems 

HOLIDAY  EDITIONS 
Our  Friend  the  Dog 
The  Swarm 
Death 

Thoughts   from    Maeterlinck 
The  Blue  Bird 
The  Life  of  the  Bee 

News  of  Spring  and  Other  Nature  Studies 
The  Light  Beyond 


-^^^ 


THE   BETROTHAL 

A  SEQUEL  TO  THE   BLUE  BIRD 

A  Fairy  Play  in  Five  Acts 
and  Eleven  Scenes 


BY 

MAURICE  MAETERLINCK 


Translated  by    • 
Alexander  Teixeira  de  Mattos 


^ 


NEW  YORK 
DODD,  MEAD  AND  COMPANY 

1919 

S3373 


CoPYRiaHT,  1918 

By  dodd,  mead  and  company,  Ino. 

AU  riffhta  reserved 


CHARACTERS 

{arranged  in  the  order  of  their  entrance 
on  the  stage) 

Tyltyl 

The  Fairy  Berylune 
MiLETTE   {the  Wood-cutter's  Daughter) 
Belline  {the  Butcher's  Daughter) 
RoSELLE  {the  Inn-keeper's  Daughter) 
AlMETTE  {the  Miller's  Daughter) 
Jalline  {the  Beggar's  Daughter) 
RosARELLE   {the  Mayor's  Daughter) 
Joy  {the  Veiled  Girl,  or  the  White  Phan- 
tom) 
Destiny 
The  Miser 
Light 

Some  Usual  Thoughts 
Granny  Tyl 
Gaffer  Tyl 


Characters 

The  Great  Mendicant 

The  Great  Peasant 

The  Rich  Ancestor 

The  Sick  Ancestor 

The  Drunken  Ancestor 

The  Murderer  Ancestor 

The  Great  Ancestor 

Other  Ancestors 

Some  of  Tyltyl's  "  Me's  " 

Various  Children  in  the  Abode  of 

THE  Children 
The  Five  Little  Ones 
The  Smallest  of  Them  All 
Mummy  Tyl 
Mytyl 
Daddy  Tyl 
The  Neighbour 


SCENES 

ACT  I 

Scene 

1  The  Wood-cutter's  Cottage. 

ACT  II 

2  Outside  the  Door. 

3  The  Miser's  Cave, 

4  A  Closet  in  the  Fairy's  Palace. 

5  A  Ballroom  in  the  Fairy's  Palace. 

ACT  III 

6  Before     the     Curtain     representing 

Rocks. 

7  The  Abode  of  the  Ancestors. 


Scenes 


ACT  IV 

8  Before  the  Curtain  representing  the 

Milky  Way. 

9  The  Abode  of  the  Children. 

ACT  V 

10  Before  the  Curtain  representing  the 

Edge  of  a  Forest, 

1 1  The  Awakening. 


ACT  I 


THE  BETROTHAL; 

OR 

THE  BLUE  BIRD   CHOOSES 

ACT  I 

Scene  I 

The  Wood-cutter's  Cottage 

The  cottage-scene  in  The  Blue  Bird:  the 
interior  of  a  wood-cutter's  cabin, 
simple  and  rustic  in  appearance,  but 
in  no  way  poverty-stricken.  A  re- 
cessed fireplace  containing  the  dying 
embers  of  a  wood-fire.  Kitchen- 
utensils,  a  cupboard,  a  bread-pan,  a 
grandfather's  clock,  a  spinning-wheel, 
a  water-tap,  etc.  A  dog  and  a 
cat  asleep.  A  large  blue-and-white 
1     . 


The  Betrothal; 

sugar-loaf.  On  the  wall  hangs  a 
round  cage  containing  a  blue  bird. 
At  the  back,  two  windows  with  closed 
shutters.  On  the  left  is  the  front- 
door, with  a  big  latch  to  it.  A  lad- 
der leads  up  to  a  loft.  But  there  is 
only  one  bed,  Tyltyl's;  he  is  now 
sixteen  years  of  age.  It  is  dark;  the 
scene  is  lit  only  by  a  few  moonbeams 
which  filter  through  the  shutters. 
Tyltyl  is  sound  asleep. 
{A  knock  at  the  door.) 

Tyltyl 

{Waking  with  a  start.)  Who's  there? 
{Another  knock.)  Wait  till  I  put  on  my 
breeches.  The  door's  bolted.  I'll  come 
and  open  it. 

The  Fairy 

{Behind    the    door.)      Don't    trouble, 
2 


or,  The  Blue  Bird  Chooses 

don't  trouble  I  .  .  .  It's  only  me !  .  .  . 
How  do  you  do?  {The  door  has  opened 
of  its  own  accord  and  the  Fairy  Bery- 
LUNE  enters  under  the  guise  of  an  old 
woman,  as  in  the  first  scene  of  the  Blue 
Bird.  At  the  same  time  the  room  is  filled 
with  a  strange  brightness,  which  remains 
after  the  door  is  closed  again.) 

Tyltyl 
(/«  surprise.)     Who  are  you? 

The  Fairy 
Don't  you  know  mc  ?     Why,  Tyltyl,  it's 
hardly  seven  years  since  we  said  good-bye 
to  each  other ! 

Tyltyl 
{Bewildered  and  vainly   searching  his 
memory.)      Yes,    yes,    I    remember  .  .  . 
and  I  know  what  you  mean.  .  .  . 

The  Fairy 
Yes,  but  you  don't  quite  grasp  who  I 

3 


The  Betrothal; 

am  and  you  don't  remember  anything  at 
all.  You  haven't  changed,  I  see :  just  the 
same  careless,  ungrateful,  wool-gathering 
little  fellow  that  you  always  were!  .  .  . 
But  you  have  grown  taller  and  stronger, 
my  lad,  and  quite  handsome!  If  I  were 
not  a  fairy,  I  should  never  have  known 
you !  Yes,  really  quite  handsome !  .  .  . 
But  are  you  aware  of  it?  It  doesn't  seem 
to  have  occurred  to  you! 
Tyltyl 
We  only  had  one  tiny  looking-glass  in 
the  house,  about  as  big  as  your  hand.  My- 
tyl  took  it  and  keeps  it  in  her  room. 

The  Fairy 
So  Mytyl  has  a  room  of  her  own  now? 

Tyltyl 
Yes,   she   sleeps  next  door,   under  the 
stairs,  and  I  here,  in  the  kitchen.     Shall  I 
wake  her  ? 

4 


or,  The  Blue  Bird  Chooses 

The  Fairy 
(Growing  suddenly  and  unreasonably 
angry,  as  on  her  former  visit.)  There's 
no  need  to  do  anything  of  the  sort!  .  .  . 
I  have  nothing  to  do  with  her;  her  hour 
has  not  struck;  and,  when  it  does  I  shall 
be  quite  capable  of  finding  her,  without 
being  shown  the  way  as  though  I  were 
blind!  ...  In  the  meantime,  I  want  no- 
body's advice.  .  .  . 

Tyltyl 
{In    dismay.)     But    ma'am,    I    didn't 
know  ... 

The  Fairy 
That    will    do.  .  .  .    (Recovering    her 
temper  as  suddenly  as  she  lost  it. )     By  the 
way,  how  old  are  you? 

Tyltyl 
I    shall   be    sixteen    a    fortnight   after 
Epiphany. 


The  Betrothal; 

The  Fairy 

{Growing  angry  again.)  A  fortnight 
after  Epiphany  I  .  .  .  What  a  way  of 
reckoning!  .  .  .  And  here  am  I  without 
my  almanack,  having  left  it  with  Destiny 
last  time  I  called  on  him,  fifty  years  ago  I 
...  I  don't  know  where  I  stand.  .  .  . 
However,  never  mind:  I'll  make  the  cal- 
culation when  we  see  him,  for  we  shall 
have  to  get  it  exactly  right.  .  .  .  And 
what  have  you  been  doing  these  seven 
years  since  we  met? 

Tyltyl 

I  have  been  working  in  the  forest  with 
daddy. 

The  Fairy 

That  means  you've  been  helping  him  cut 
down  trees.  I  don't  like  that  very  much. 
You  call  that  working,  do  you  ?  Ah,  well, 
men  evidently  can't  live  without  destroying 
the  last  things  of  beauty  that  remain  on  the 
.6 


or,  The  Blue  Bird  Chooses 

earth!  ...  So  let's  talk  of  something 
else.  .  .  .  (Mysteriously.)  Can  any  one 
hear  us? 

Tyltyl 
I  don't  think  so. 

The  Fairy 
(Growing  angry  once  more.)  It 
doesn't  matter  what  you  think,  but 
whether  you're  sure.  What  I  have  to 
say  is  tremendously  important  .  .  .  and 
strictly  private.  Come  here,  quite  close, 
so  that  I  can  whisper  it.  .  .  .  Whom  are 
you  in  love  with  ? 

Tyltyl 
{In  amazement.)     Whom  am  I  in  love 
with  ? 

The  Fairy 
{Still  cross  and  quite  forgetting  the  im- 
portance  of   speaking   in   a   low   voice.) 
Yes,  yes  I     I'm  not  talking  Greek,  am  I? 
7 


The  Betrothal; 

I  want  to  know  if  you're  in  love  with  any 
one. 

Tyltyl 
Yes,  certainly;  I  love   everybody:  my 
parents,  my  friends,  my  sister,  my  neigh- 
bours, all  the  people  I  know. 

The  Fairy 
Now  oblige  me  and  don't  play  the  fool. 
.  .  .  You  know  perfectly  well  what  I 
mean.  .  .  .  I'm  asking  whether  there's 
any  one  girl  among  those  you  meet  whom 
you  love  more  than  the  rest. 

Tyltyl 
(Blushing  and  considering.)     I   don't 
know.  .  .  . 

The  Fairy 

{Angrier  than  ever.)     What  do  you 

mean,  you  don't  know?     Who  does  know, 

if  you  don't?     At  your  age  a  boy  ought 

to  think  of  nothing  else :  if  he  doesn't,  he's 

8 


or,  The  Blue  Bird  Chooses 

a  booby,  a  nincompoop  and  not  worth 
bothering  about !  .  .  .  There's  nothing  to 
blush  at:  it's  when  one's  not  in  love  that 
one  should  feel  ashamed.  .  .  .  You  and  I 
are  miles  away  just  now  from  the  false- 
hood of  words :  we  are  with  the  truth  of 
our  thoughts,  which  is  a  very  different 
thing.  .  .  .  Come,  among  all  the  girls 
you've  met  .  .  . 

Tyltyl 

(Timidly.)  I  don't  meet  very 
many.  .  .  . 

The  Fairy 

That's  no  reason;  it's  not  necessary  to 
meet  them  by  the  dozen.  Very  often  it's 
enough  if  you  come  across  just  one :  when 
you've  nobody  else,  you  love  that  one  and 
are  not  to  be  pitied.  .  .  .  But  come, 
among  those  close  by  .  .  . 

Tyltyl 
There  aren't  any  close  by.  .  .  . 


The  Betrothal; 

The  Fairy 
There  are  at  the  neighbours'. 

Tyltyl 
There  are  hardly  any  neighbours.  .  .  . 

The  Fairy 
There  are  girls  in  the  village,  in  the 
town,  way  back  in  the  forest  and  in  every 
house.  You  find  them  every^'here  when 
your  heart's  awake.  .  .  .  Which  is  the 
prettiest? 

Tyltyl 
Well,  they're  all  very  pretty. 

The  Fairy 
How  many  do  you  know? 

Tyltyl 
Four  in  the  village,  one  in  the  forest  and 
one  by  the  bridge. 

The  Fairy 
Oho  I     That's  not  bad,  for  a  beginning  1 
10 


or,  The  Blue  Bird  Chooses 

Tyltyl 
We  don't  see  many  people  here,  you 
know. 

The  Fairy 
You're  not  the  baby  one  would  think. 
.  .  .  But  tell  me,  between  ourselves,  do 
they  love  you  too  ? 

Tyltyl 
They  haven't  told  me  so;  they  don't 
know  that  I  love  them. 

The  Fairy 
But  these  are  things  which  it  isn't  neces- 
sary to  know  or  to  tell !  .  .  .  You  see  that 
at  once  when  you're  living  in  the  truth. 
A  look  is  enough;  there's  no  mistaking  it; 
and  the  words  which  people  say  merely 
hide  the  real  ones  which  the  heart  has 
spoken.  .  .  .  But  I'm  in  a  hurry:  would 
you  like  me  to  make  them  come  here  ? 
11 


The  Betrothal; 

Tyltyl 

(Terrified.)  Make  them  come  here? 
They  wouldn't  want  to  1  They  hardly 
know  me.  They  know  I'm  poor.  They 
don't  know  where  I  live,  especially  those  in 
the  village :  they  never  come  this  way.  .  .  . 
It's  an  hour's  walk  from  the  church  to  the 
house;  the  roads  are  bad;  it's  dark.  .  .  . 

The  Fairy 

Dear,  dear,  anything  more?  Don't  let 
us  talk  about  that.  Remember,  we've 
done  with  untruths.  I've  only  to  lift  my 
finger  and  they'll  come.  .  .  . 

Tyltyl 
But  I'm  not  even  sure  that  they've  no- 
ticed me  at  all. 

The  Fairy 

Have  you  looked  at  them? 
12 


or,  The  Blue  Bird  Chooses 

Tyltyl 

Yes,  sometimes.  .  .  . 

The  Fairy 
And  have  they  looked  back  at  you  ? 

Tyltyl 
Yes,  sometimes.  .  .  . 

The  Fairy 
Well,  that's  enough;  that's  the  truth; 
and  one  doesn't  need  anything  more. 
You'll  find  that's  the  way  people  tell  each 
other  in  the  world  where  I'm  going  to 
take  you,  the  world  of  real  things.  The 
rest  doesn't  matter.  .  .  .  They  make  no 
mistake.  You'll  see,  once  we  are  there, 
how  well  they  know  all  that  has  to  be 
known;  for  what  we  see  Is  nothing:  it  is 
what  we  do  not  see  that  makes  the  world 
go  round.  .  .  .  And  now,  watch  me !  .  .  . 
I'm  taking  the  little  green  hat  out  of  my 
bag  again  I  .  .  .  Do  you  remember  it? 
13 


The  Betrothal; 

Tyltyl 

Yes,  but  it's  bigger.  .  .  . 

The  Fairy 

{Angrily.)  Of  course  it's  bigger  I 
So's  your  head:  they  grew  up  together. 
.  .  .  Always  making  those  unnecessary 
remarks  I  .  .  . 

Tyltyl 

And  the  diamond  has  changed  colour. 
I  should  call  it  blue.  .  .  . 

The  Fairy 

But,  you  see,  it  isn't  the  diamond !  This 
time  we're  not  concerned  with  the  souls 
of  Bread,  Sugar  and  other  simple  and 
unimportant  things.  We  have  to  choose 
the  great  and  only  love  of  your  life;  for 
each  man  has  only  one.  If  he  misses  it, 
he  wanders  miserably  over  the  face  of  the 
14 


or,  The  Blue  Bird  Chooses 

earth.  The  search  goes  on  till  he  dies, 
with  the  great  duty  unfulfilled  which  he 
owes  to  all  those  who  are  within  him. 
But  he  seldom  has  an  idea  of  this.  He 
walks  along,  his  eyes  shut;  seizes  some 
woman  whom  he  chances  to  meet  in  the 
dark;  and  shows  her  to  his  friends  as 
proudly  as  though  the  gates  of  Paradise 
were  opening.  He  fancies  himself  alone 
in  the  world  and  imagines  that  in  his  own 
heart  all  things  begin  and  end.  .  .  . 
Which  is  absurd.  .  .  .  But  no  more  of 
that  I  Is  everything  ready?  Put  on  your 
hat  and  turn  the  sapphire;  then  they'll 
come  in.  .  .  . 

Tyltyl 

(Scared.)     But  I'm  not  dressed  1  .  .  . 

Wait,  waitl  .  .  .  What  shall  I  put  on? 

.  .  .  Oh,  what  luckl  .  .  .  There  are  my 

Sunday  clothes  on  the  chair:  my  breeches 

15 


The  Betrothal; 

—  they're    almost   new  —  and   my   clean 
shirt  I  .  .  .   {He  dresses  hurriedly.) 

The  Fairy 

Come,  come,  have  done!  All  this 
doesn't  matter;  they  won't  mind  your 
clothes.  .  .  .  You're  not  going  to  meet  a 
lot  of  silly  children.  You  won't  find  them 
the  same  as  they  were  in  the  other  life, 
because  this  is  the  real  one;  and  it's  the 
truth  in  them  that  you'll  see  here. 

Tyltyl 

{Very  uneasy.)  Will  they  all  come  in 
together?  There  are  six  of  them,  at 
least:  I  can't  remember.  .  .  .  Suppose 
they  started  quarrelling  and  pulling  one 
another's  hair? 

The  Fairy 

Just  the  least  bit  conceited,  aren't  you? 
16 


or,  The  Blue  Bird  Chooses 

Tyltyl 

No,  but  I'm  afraid  of  their  making  a 
noise,  because  of  daddy. 

The  Fairy  ( 

Haven't  I  told  you  again  and  again, 
we're  no  longer  in  the  world  below!  .  .  . 
Can't  you  feel  that  the  air  is  much  purer 
and  the  light  quite  different?  .  .  .  We  are 
now  in  a  sphere  in  which  men  and  women 
don't  quarrel  or  wish  one  another  harm. 
All  of  that  was  merely  make-believe  and 
doesn't  exist  deep  down.  ...  If  some  of 
them  are  unhappy  because  you  hesitate  in 
your  choice,  they  will  none  the  less  hope 
on  until  the  end;  and  they  know  very  well 
that  where  there  is  love  there  must  also 
be  sorrow.  ... 

Tyltyl 

How  will  they  come  in  ? 
It 


The  Betrothal; 

The  Fairy 

Upon  my  word,  I  don't  know.  Each  of 
them  will  do  what  occurs  to  her:  one  will 
choose  the  window,  another  the  roof,  the 
wall,  the  cellar  or  the  chimney  .  .  .  one 
or  two  even  will  come  in  by  the  door;  but 
those  are  the  least  interesting:  they  lack 
imagination.  .  .  .  However,  we  shall  see 
when  the  time  comes.  We've  talked 
enough;  time  presses;  come,  turn  the  sap- 
phire. ... 

Tyltyl 
( Trying  to  gain  time,  in  order  to  con- 
ceal his  terror.)     Which  way  round  am  I 
to  turn  it? 

The  Fairy 

The  same  as  with  the  diamond,  from 

right  to  left.  .  .  .    {Looking  at  Tyi^tyi..) 

Goodness   me,   how  pale   you   arel  .  .  . 

18 


or,  The  Blue  Bird  Chooses 

What  has  come  over  you?     Surely  you're 
not  afraid?  .  .  . 

Tyltyl 
Not  at  all,  on  the  contrary.  ...  I  al- 
ways look  like  this.  .  .  . 

The  Fairy 
You  needn't  be  ashamed  to  admit  it: 
this  is  a  very  serious  moment ;  and,  if  men 
knew  what  happened,  in  this  life  and  all 
the  others,  when  they  made  a  bad  choice, 
they'd  never  dare  to  get  married  at  all. 
.  .  .  But  what  you're  trying  to  do  is  to 
put  off  the  dreadful  moment;  and  I'm  a 
goose  to  be  listening  to  you.  .  .  .  Come, 
turn  the  sapphire  I 

(Tyltyl  turns  the  sapphire.  No 
sooner  has  he  done  so  than  the  cot- 
tage  is  filled  with  a  supernatural 
light,  which  invests  all  things  with 
beauty,  purity  and  a  transcendent 
19 


The  Betrothal; 

joy.  A  window  opens  noiselessly 
and  a  young  girl,  dressed  like  a 
wood-cutter  and  carrying  a  hatchet 
in  her  hand,  steps  into  the  room  and 
runs  up  and  kisses  Tyltyl.) 

The  Girl 
Good  evening,  Tyltyl  1  .  .  .  You  called 
fxit :  here  I  am  I  .  .  . 

Tyltyl 
Hullo,  it's  Milette!  ...  {To  the 
Fairy.)  This  is  Milette,  my  cousin,  the 
daughter  of  Feltree,  the  wood-cutter.  .  .  '. 
We  see  each  other  sometimes  in  the  for- 
est. .  .  .  (To  Milette.)  So  you  loved 
me?  .  .  .  You  never  said  sol  .  .  . 

Milette 

Do  people   say  such  things   in   a   life 

where    everything    is    forbidden?     Need 

they  say  them?  .  .  .  But  I  knew  at  once 

20 


V 

or,  The  Blue  Bird  Chooses 

and  from  the  first  that  you  loved  me ;  and 
so  did  I  love  you.  ...  It  was  one  eve- 
ning when  you  went  past  with  your  father. 
You  were  carrying  a  bundle  of  laurel- 
twigs.  You  didn't  know  my  name  then 
and  said,  "  Good  evening,"  and  looked 
into  my  eyes.  I  answered,  "  Good  night," 
and  cast  my  eyes  down ;  but  I  had  that  look 
of  yours  in  my  heart ;  and,  since  then,  with- 
out leaving  home,  I've  been  here  very 
often;  but  you  didn't  seem  to  know.  .  .  . 

Tyltyl 
No,  no,  it's  I  who  every  evening  after 
sunset  used  to  go  to  you.  I  was  never  at 
home.  Mummy  would  ask,  "  What  are 
you  thinking  of,  Tyltyl?"  And  daddy 
answered,  "  He's  up  in  the  moon  again !  " 
I  wasn't  in  the  moon  at  all,  I  was  with 
you ;  but  you  paid  no  attention :  you  were 
seeing  to  the  fire,  or  the  soup,  or  the  rab- 
2X 


The  Betrothal; 

bits;  you  were  cutting  chips  or  tying  up 
bundles,  as  if  no  one  had  entered  your 
cottage.      .  . 

MiLETTE 

No,  I  was  here  and  kissing  you  all  the 
time ;  but  you  didn't  kiss  me.  .  .  . 

Tyltyl 

I  tell  you  it  was  I  who  was  always  kiss- 
ing you;  I  tell  you  it  was  you  who  were 
never  there.  .  .  . 

MiLETTE 

It's  funny  that  we  can  never  see  things 
till  we've  learnt  how  to  look  for  them. 
.  .  .  But,  now  that  we  do  know,  now  that 
we  see,  we  can  really  kiss  each  other.  .  .  . 

Tyltyl 

{Eagerly  kissing  Milette.)     Yes,  yes, 

let's  kiss  each  other  again  and  again  till 

we   have   no   kisses   left  I  .  .  .  Oh,   how 

22 


or,  The  Blue  Bird  Chooses 

wonderful  it  is!  .  .  .  I  never  kissed  any- 
body till  now;  and  I'd  no  idea  what  it  was 
like  I  .  .  .  Oh,  how  wonderful,  how  won- 
derful I  ...  I  could  kiss  you  for  ever! 
I  could  spend  my  life  kissing  you  I  .  .  . 

MiLETTE 

And  I,  I  too!  ...  I'd  never  kissed 
anybody  either:  I  mean,  I'd  only  kissed 
daddy  and  mummy ;  it's  not  the  same  thing 
at  all.  .  .  .  But  tell  me,  Tyltyl,  is  it  true 
that  you  love  me  and  only  me  ?  .  .  .  Who 
is  that  coming  in  ? 

( Opening  the  wall,  which  closes  again 
behind  her,  enter  a  second  young 
girl,  dressed  in  a  blood-red  skirt 
and  bodice.  A  butcher's  knife 
hangs  from  her  belt.) 

The  Second  Girl 

(Rushing  up  to  Tyltyl  and  kissing 
23 


The  Betrothal; 

him.)     Here  I  am,  Tyltyl  darling,  here  I 
am! 

Tyltyl 
(  To  THE  Fairy.  )  This  is  Belline,  my 
cousin,  the  butcher's  daughter.  ...  (To 
Belline.)  What's  the  matter  with  you, 
Belline  dear?  You're  wet  through  and 
quite  out  of  breath !  .  .  . 

Belline 
I  should  think  I  was!  .  .  .  It's  a  long 
way  from  the  village  to  your  place!  .  .  . 
I  didn't  even  wait  to  wash  my  hands.  .  .  . 
I  was  helping  daddy  to  cut  up  a  calf;  the 
moment  your  thoughts  came,  I  dropped 
my  knife  and  left  everything  so  as  to  get 
here  quicker.  ...  I  even  believe  that, 
while  I  was  there,  I  cut  my  finger  rather 
badly;  but  here  it  doesn't  show.  .  .  . 
Daddy  hasn't  the  least  Idea  what  has  hap- 
pened; he  must  be  furious.  (Catching 
24 


or,  The  Blue  Bird  Chooses 

sigiht  of  MiLETTE.)     How  do  you  do, 

Milette  ? 

MiLETTE 

How  do  you  do,  Belline?  .  .  .  Do  you 
love  him  too  ? 

Belline 
Why,  yes,  of  course!  .  .  .  You're  not 
angry  with  me  ? 

Milette 
Not  at  all,  I'm  glad.  .  .  .  We'll  both  of 
us  love  him.  .  .  . 

Belline 
How  pretty  you  look  this  evening,  Min 
lette  dearest.  ... 

Milette 
No,  it's  you,  Belline:  you've  never  been 
more  beautiful.  .  .  . 
25 


The  Betrothal; 

Tyltyl 
{To  THE  Fairy.)     They're  taking  it 
very  well  1    .    .    . 

The  Fairy 
Of  course  they  are;  they  know  it's  not 
your  fault.  .  .  . 

{At  this  point,  the  chimney-recess 
lights  up,  opens  at  the  back  and 
admits  a  third  young  girl,  dressed 
like  the  maid  at  an  inn  and  carry- 
ing a  pewter  tray  under  one  arm 
and  a  bottle  under  the  other.) 

The  Third  Girl 
{Enthusiastically ,  darting  at  Tyltyl.) 
Here  I  am,  here  I  ami     It's  me!  .  .  . 
Good  evening,  everybody;  but  first  a  kiss 
for  Tyltyl  I  .  .  . 

Tyltyl 
Hullo,    you    too,    Roselle?  ...   {To 


or,  The  Blue  Bird  Chooses 

THE  Fairy.)  This  is  Roselle,  the  daugh- 
ter of  the  landlord  of  the  Golden  Sun. 
...  {To  Roselle.)  Was  there  no  one 
at  the  inn  this  evening,  that  you  were  able 
to  come? 

Roselle 
On  the  contrary,  heaps  of  people !  You 
can  imagine,  on  Christmas  Eve!  There 
were  men  sitting  and  drinking  on  the 
counter  and  on  all  the  window-sills.  I 
dropped  a  tray  with  twelve  glasses  on  it 
when  you  called  me.  Why,  I've  still  got 
the  tray  under  this  arm  and  a  bottle  of  the 
best  brandy  under  the  other.  It  gets  in 
my  way  when  I'm  kissing  you.  .  .  . 
I  left  them  shouting  after  me,  down  there, 
as  though  I  had  set  the  house  on  lire. 
.  .  .  They  must  be  wondering  if  I'm 
mad.  But  I  don't  care,  I  was  so  delighted 
that  you  were  thinking  of  me.  A  sudden 
happiness  came  over  me.  .  .  .  How  are 
27 


The  Betrothal; 

you,  Tyltyl  dear?  .  .  .  Kiss  me  again  1 
.  .  .  You're  even  handsomer  than  when 
I  saw  you  last.  .  .  . 

Tyltyl 

{Kissing  her.)  And  you,  dear  Roselle, 
you  are  prettier  than  ever;  and  your  cheeks 
are  so  soft  and  cool.  ,.  .  .  I  never  dared 
kiss  you  before.  .  .  .  When  any  one  else 
did,  I  always  said  to  myself,  "  How  happy 
he  must  be  I  " 

Roselle 

The  others  didn't  matter.  .  .  .  But  I 
knew  well  enough  that  you  didn't  dare. 
...  I  didn't  dare  either,  though  I  was  dy- 
ing to  kiss  you.  .  .  .  Do  you  remember 
the  first  time  you  came  to  the  inn,  six  weeks 
ago?  It  was  on  a  Sunday  morning,  after 
High  Mass;  you  didn't  look  at  anybody; 
but  suddenly,  when  I  came  near,  your  eyes 
grew  so  bright  and  opened  so  wide  .  .  . 
28 


or,  The  Blue  Bird  Chooses 

Tyltyl 
And  so  did  yours  open  wide :  they  looked 
like  two  lakes. 

ROSELLE 

What  were  they  doing,  our  eyes? 
What  happened?  ...  I  know  that,  since 
that  day,  I  think  of  nothing  but  you,  I  do 
no  work,  I'm  always  here;  but  you  came 
very  seldom.  .  .  . 

{Coming  down  the  ladder  from  the 
attic,  enter  a  fourth  young  girl,  in 
rustic  clothes,  all  white  with  flour.) 

Tyltyl 
{Turning round.)    Who's  there?    You, 
Aimette?  ...   {To  the  Fairy.)     This 
is  Aimette,   another  cousin,   the  miller's 
daughter.  .  .  . 

The  Fairy 
Go  on,  go  on,  you're  doing  very  nicely! 
29 


The  Betrothal^ 

AlMETTE 

(A  little  shyly. )  I  came  as  I  was,  from 
the  mill.  I've  not  had  time  to  brush  my- 
self. 

Tyltyl 

That  doesn't  matter.  Kiss  me  all  the 
same.  How  fresh  and  rosy  you  are,  un- 
derneath all  that  flour!  .  .  . 

AlMETTE 

I  shall  never  dare.  .  .  .  You'd  be  cov- 
ered with  it.  .  .  . 

{She  has  hardly  finished  speaking 
when,  through  the  other  window, 
enter  a  fifth  young  girl,  bare-foot, 
bare-headed,  clad  in  rags  and  car- 
rying in  her  hand  a  wooden  bowl 
with  a  few  halfpence  clinking  in  it. 
She  does  not  dare  come  forward.) 

Tyltyl 
One   morel  ...   {To    the    Fairy.) 
30 


or,  The  Blue  Bird  Chooses 

This  is  Jalllne,  the  little  beggar-girl  from 
the  bridge  by  the  Hermitage. 

The  Fairy 
Excellent,     excellent!  .  .  .  I'd     better 
wake  your  father  and  tell  him  the  house 
won't  be  big  enough;  then  he  can  start 
building  at  once.  .  .  . 

Tyltyl 

But  it's  not  my  fault.  I  didn't  do  it  on 
purpose.  One  can't  help  loving  them! 
.  .  .  How  are  you,  Jalline?  .  .  .  What 
have  you  done  with  your  poor  old  father  ? 

Jalline 
I  left  him  at  the  bridge. 

Tyltyl 
What,  all  alone  in  the  dark!     And  he 
blind  and  a  cripple !     Isn't  that  very  dan- 
gerous? .  .  . 

31 


The  Betrothal; 

Jalline 
{On  the  verge  of  tears.)  Yes,  I  know 
it's  wrong.  It  was  very  wrong  of  me, 
very.  I  won't  do  it  again.  But  I  couldn't 
help  it,  Tyltyl,  really.  When  you  called 
me,  I  couldn't  stay  where  I  was. 

Tyltyl 
{Kissing  her.)  There,  there,  don't 
cry.  I'll  help  you  to  bring  him  home.  .  .  . 
Do  you  remember,  I  did  that  once  before, 
one  evening  when  I  was  crossing  the 
bridge  and  gave  you  a  halfpenny:  it  was 
all  I  had  I 

Jalline 
I've  kept  it  ever  since,  Tyltyl.     I  put  it 
in  a  box.     I  shall  never  lose  it. 

Tyltyl 
{Kissing  her  again.)     Oh,   the   sweet 
smell  of  lavender  and  thyme  I  .  .  . 


or,  The  Blue  Bird  Chooses 

{This  time  the  door  opens  slowly. 
Enter  a  sixth  young  girl.  She  is  in 
evening-dress,  with  a  fur  cloak  over 
her  shoulders,  and  carries  a  fan  in 
her  hand.) 

Tyltyl 
Who  is  this  ? 

The  Fairy 
But  where  do  they  all  come  from?     At 
your  age  tool     I  should  never  have  be- 
lieved it  I  .  .  . 

Tyltyl 
But  I  didn't  know  ...  {To  THE 
Fairy.)  Why,  it's  Rosarellel  .  .  .  The 
mayor's  daughter  I  .  .  .  You  know,  from 
the  great  big  farmhouse,  with  the  three 
round  turrets,  at  the  other  end  of  the  vil- 
lage I  .  .  .  What  shall  I  do?  She's  so 
proud!  .  .  . 

33 


The  Betrothal; 

The  Fairy 
Not  a  bit;  she  won't  be  any  prouder  than 
the    others.     Speak    to    her    and    you'll 
see.  .  .  . 

Tyltyl 
I'll    never    dare.  .  .  .  What    could    I 
say?  .  .  . 

ROSARELLE 

{Coming     forward.)     Well,      Tyltyl, 
don't  you  know  me  ? 

Tyltyl 

Yes,  miss,  but  I  wasn't  sure.  .  .  . 

RoSARELLE 

Miss?  What  do  you  mean?  That's 
not  my  name.  My  name's  Rosarelle ;  and 
you  know  it.  .  .  .  There  was  a  big  dinner 
at  my  father's,  for  Christmas.  Your 
thoughts  came  to  fetch  me  while  we  were 
34 


or,  The  Blue  Bird  Chooses 

at  dessert.  I  jumped  up  at  once  and  up- 
set a  glass  of  champagne.  They  were 
alarmed  and  thought  I  was  ill  and  began 
to  fuss :  it  was  as  much  as  I  could  do  to  get 
away.  Still,  here  I  am  and  I'm  going  to 
kiss  you.  .  .  .  Do  you  remember  how  we 
used  to  look  at  each  other  when  you  came 
to  the  yard  with  your  bundles  of 
wood?  .  .  . 

Tyltyl 
Oh,  yes !     You  were  so  lovely,  I  couldn't 
take  my  eyes  off  you.  .  .  .  But  you  are 
lovelier  than  ever  to-day. 

ROSARELLE 
That  was  the  beginning;  but  I  didn't 
quite  realize  it  till  the  day  you  gave  me 
the  three  little  bullfinches  which  you  found 
in  the  forest. 

35 


The  Betrothal; 

Tyltyl 
Yes,  yes,  I  remember.  ...  I  knew  too. 
.  .  .  Are  they  still  alive? 

ROSARELLE 

Two  of  the  little  things  are  dead;  but 
the  third  is  splendid.  ...  I  keep  him  in  a 
gilt  cage,  by  the  window;  and  each  time 
he  sings  .  .  . 

The  Fairy 
Come,  come,  these  little  confidences  are 
most  interesting,  but  we've  no  time  to  lose. 
Everything  must  be  settled  to-night,  for  an 
opportunity  like  this  comes  only  once  to  a 
man;  and  woe  to  him  who  lets  it  slip:  he 
will  never  have  another  chance  I  But  what 
we  have  to  do  now  is  to  put  our  heads  to- 
gether and  prepare  for  the  great  choice, 
which  is  to  decide  the  happiness  of  two 
human  beings  first  and  of  many  others 
after  that. 

36 


or,  The  Blue  Bird  Chooses 

Tyltyl 
{Greatly    perturbed.)      Must    I    make 
my  choice  at  once  and  can  I  only  choose 
one?  .  .  . 

The  Fairy 
Don't  distress  yourself ;  it's  not  your  af- 
fair ;  it's  not  you  who'll  choose.  ... 

Tyltyl 
{Utterly   bewildered.)     Not   I   who'll 
choose?  .  .  . 

The  Fairy 
Why,  no,  it  doesn't  concern  you. 

Tyltyl 
( Completely  stupefied. )      It  doesn't  con- 
cern me  ?  .  .  . 

The  Fairy 
No,  no,   I  told  you  so:  of  course  it 
doesn't. 

37 


The  Betrothal; 

Tyltyl 
(Failing  to  understand  a  word.)     Then 
I  can't  love  whom  I  want  to  ? 

The  Fairy 
Why,  no.  .  .  .  Nobody  loves  whom  he 
wants  to  or  does  what  he  wants  to  in  this 
world.     You  must  first  of  all  learn  what 
is  wanted  by  those  on  whom  you  depend. 

Tyltyl 
By  those  on  whom  I  depend?  .  .  . 

The  Fairy 
Why,  yes :  your  ancestors,  to  begin  with. 

Tyltyl 

My  ancestors? 

The  Fairy 

All  those  who  have  died  before  you. 
38 


or,  The  Blue  Bird  Chooses 

Tyltyl 
What   business    is    it    of   theirs,    since 
they're  dead?     I  don't  know  them. 

The  Fairy 
I  dare  say  not,  but  they  know  you.  .  .  . 
And  then  there  are  all  your  children. 

Tyltyl 
My   children?     What   children?     I've 
never  had  any ! 

The  Fairy 
Yes,  yes,  yes,  you've  had  thousands  who 
aren't  born  yet  and  who're  waiting  for  the 
mother  whom  you're  going  to  give  them. 

Tyltyl 
Then  It's  they  who  will  choose  my  bride  ? 

The  Fairy 
Why,  of  course;  that's  how  things  al- 
39 


The  Betrothal; 

ways  happen.  .  .  .  But  let's  have  no  more 
talk :  we  have  to  make  a  few  preparations 
for  the  great  journey;  it's  going  to  be 
rather  long  and  tiring  .  .  .  And  first  we 
must  get  some  money:  I've  none  left  at 
home;  and  my  magic  wand  that  brings  it 
me  is  being  repaired  a  few  thousand  miles 
down  in  the  centre  of  the  earth.  ...  a 
don't  quite  see  where  we're  to  get  what  we 
want:  the  expenses  will  be  quite  heavy. 
.  .  .  {To  THE  Girls.)  Has  any  one  of 
you  a  few  thousand  francs  on  her? 

Jalline 
I've  only  sixpence  halfpenny  in  my  bowl, 
besides  Tyltyl's  halfpenny,  which  I  can't 
part  with. 

ROSELLE 

I've  seven  francs  fifty,  to-night's  takings. 

MiLETTE 

I've  nothing  at  all. 
40 


or,  The  Blue  Bird  Chooses 

ROSARELLE 

I've  nothing  on  me,  but  grandfather's 
very  rich. 

The  Fairy 

That's  all  right,  it's  all  we  need :  he  can 
lend  us  some  money. 

Rosarelle 
Yes,  but  he's  a  miser! 

The  Fairy 
No,  that's  a  mistake;  there  are  no 
misers.  Thanks  to  the  sapphire  which  re- 
veals the  heart  and  essence  of  things,  you 
will  see  that  he  is  no  more  of  a  miser  than 
you  or  I  and  that  he  will  give  us  whatever 
we  ask.  That's  the  first  visit  we  shall 
have  to  pay.  .  .  .  Well,  are  you  all  ready? 
Which  way  shall  we  go  out? 

{At  this  point,  a  trap-door  opens,  in 
the  middle  of  the  stage,  and  from 
it  there  rises  slowly,  like  a  tower, 
41 


The  Betrothal; 

a  gigantic  shape,  twice  a  man's 
height.  It  is  square,  enormous, 
imposing  and  overwhelming;  it 
gives  the  impression  of  a  mass  of 
granite  and  of  immense,  blind,  in- 
flexible force.  Its  face  is  not  seen. 
It  is  draped  in  grey  folds  that  are 
rigid  as  rock.) 

The  Shape 
It's    I.     You    have    forgotten   me,    as 
usual!  .  .  . 

Tyltyl 
{Not  a  little  frightened.)     Who  is  this 
gentleman  ? 

The  Fairy 

He's  right,  I  had  forgotten  him.     It's 

nobody,  it's  Destiny.     I  didn't  foresee  that 

the  sapphire  would  make  him  visible  also. 

He  will  have  to  come  with  us;  we  can't 

42 


or,  The  Blue  Bird  Chooses 

•prevent  him;  he's  entitled  to.     Give  him 
your  hand. 

Tyltyl 
Will  he  lead  us? 

The  Fairy 
That  remains  to  be   seen.     We  must 
hear  what  Light  says :  it's  a  matter  for  her. 

Tyltyl 
Why,  of  course,  Light !  .  .  .  Where  is 
she  ?  .  .  .  Isn't  she  going  with  us  ? 

The  Fairy 
Yes,  yes,  but  she  has  a  great  deal  to  do 
at  the  moment  .  .  .  She  wasn't  free  this 
evening.  .  .  .  We  shall  find  her  at  my 
place,  where  we  shall  go  straight  from 
your  visit  to  the  miser. 

Tyltyl 
How  glad  I  shall  be  to  see  her  again  I 
.  .  .  She  was  so  nice,  so  sweet,  so  beauti- 
ful, so  affectionate  and  kind  I  .  .  . 
43 


The  Betrothal; 

The  Fairy 
Come,  give  Destiny  your  hand ;  it's  time 
to  start. 

(Tyltyl  stretches  out  his  arm  to  the 
monster,  who  grips  the  hoy's  little 
hand  and  wrist  in  his  huge  bronze- 
coloured  hand.) 

Tyltyl 
Here  you  are,  sir.  .  .  .    {Giving  a  cry .) 
Hil  .  .  .  It's    not   a    hand,    it's    a    steel 
vice!  .  .  . 

The  Fairy 
It's  nothing,  you'll  get  used  to  it.  .  .  . 
Come,  is  everything  ready  at  last?    Noth- 
ing more  that  we've    forgotten?    Then 
one,  two,  three  and  off  we  go  I  .  .  . 
{A  knock  at  the  door.) 

The  Fairy 
(Crossly.)     Who's  come  to  disturb  us 
44 


or,  The  Blue  Bird  Chooses 

now?     Shall   we   never   get   out   of   this 
hovel  ? 

{Another  knock.) 

Tyltyl 
ComeinI  .  .  . 
{A  third  knock.) 

Tyltyl 
Who's     there?  .  .  .  Come     in,     can't 
you?  .  .  . 

{The  door  opens  slovjly  and  reveals 
a  female  form  shrouded  in  long 
white  veils,  like  an  antique  statue. 
The  face,  hands,  mouth,  eyes,  hair 
and  eyebrows  are  lifeless  and  white 
as  marble.  It  stands  motionless 
on  the  threshold.) 

Tyltyl 

What  is  it? 

45 


The  Betrothal; 

The  Fairy 
Really,  I  don't  know.  ...  It  must  be 
one  of  those  whom  you've  forgotten.  .  .  . 

Tyltyl 
{Vainly  ransacking  his  memory.)  I? 
.  .  .  I've  forgotten  nobody.  .  .  .  I've 
never  seen  her  before.  ...  I  can't  re- 
member. .  .  .  {Going  up  to  the  Veiled 
Form.)  Who  are  you?  (The  Veiled 
Form  does  not  reply.) 

The  Fairy 
It's  no  use  asking  her.     She  can't  tell 
you,  she  can't  come  to  life  till  you  remem- 
ber her. 

Tyltyl 
But  I  don't.     I'm  thinking  and  trying  as 
hard  as  I  can,  but  I  can  find  nothing. 

The  Fairy 
Very  well,  very  well,  we  shall  see  later, 
46 


or,  The  Blue  Bird  Chooses 

when  everything  is  cleared  up.  ...  As 
she  blocks  the  path,  we  must  go  out  by 
the  window.  .  .  .  Come,  this  way!  We 
have  taken  our  fate  in  our  hands;  and 
things  have  begun !  .  .  . 

Destiny 
Excuse  me,  excuse  me!  It's  I  who  am 
Fate  and  it's  I  who  begin  and  it's  I  who 
give  orders.  ...  I  go  first,  for  it  is  I  who 
direct  everything  and  I  am  the  only  mas- 
ter! ..  . 

{The  windows  open  down  to  the 
ground  and  all  go  out  into  the 
starry  night,  preceded  by  Destiny 
dragging  Tyltyl  by  the  hand. 
The  Veiled  Form  follows  them 
slowly,  at  a  distance.) 

Curtain 

47 


ACT  II 


ACT  II 

Scene  II 
Outside  the  Door 

The  curtain  represents  a  huge  double 
door  surmounted  with  a  flattened 
arch.  The  door  is  old,  thick  and 
massive,  unyielding,  bound  and  stud- 
ded with  iron  bars  and  nails.  In  the 
middle  of  the  door  is  a  formidable 
lock. 

(Enter  the  Fairy  and  Tyltyl,  who  car- 
ries an  empty  wallet  over  his  shoul- 
der.) 

The  Fairy 

This  is  the  Miser's  door. 
51 


The  Betrothal; 

Tyltyl 
Where  are  my  sweethearts  ? 

The  Fairy 
At  home,  in  my  palace ;  they'll  wait  there 
for  you  and  will  be  quite  safe.  ...  Be 
quick  and  come  back  soon. 

Tyltyl 
What  about   Destiny?     I   thought  he 
would  never  leave  me  again  ? 

The  Fairy 

That's  true;  it's  curious.  But  it's  not 
our  business  to  run  after  him ;  it's  his  own 
affair;  he's  by  no  means  indispensable. 

Tyltyl 
Are  you  coming  with  me  to  the  Miser  ? 

The  Fairy 

No,  it's  better  that  you  should  see  him 
52 


or,  The  Blue  Bird  Chooses 

alone.  .  .  .  You're    not    frightened,    are 
you? 

Tyltyl 
Not  a  bit;  but  I  don't  quite  know  what 
I  am  to  do. 

The  Fairy 
It's  very  simple:  when  you're  in  there, 
you  turn  the  sapphire;  and  he'll  give  you 
anything  you  want. 

Tyltyl 
He  won't  attack  me  ?     I've  no  weapons, 
you  know. 

The  Fairy 
On  the  contrary,  he  will  be  delighted  to 
be  of  service. 

Tyltyl 
How  shall  I  get  in?     There's  no  bell 
and  no  knocker.     Ami  to  tap  at  the  door? 
53 


The  Betrothal 

The  Fairy 
Do  nothing  of  the  sort!  That  would 
be  giving  him  a  hint ;  and  he  would  become 
unmanageable.  .  .  .  But  this  also  is  quite 
simple.  I  will  touch  the  big  lock  with  my 
wand;  the  doors  will  slide  back  to  right  and 
left;  and  you  will  suddenly  be  on  the  other 
side,  that  is  to  say,  right  inside  the  cave, 
before  he  even  suspects  it.  Once  there, 
you  can  keep  quiet  in  your  corner  for  a 
moment  and  watch  him  playing  with  his 
gold,  if  that  amuses  you;  and  it  will  amuse 
you,  for  it's  rather  curious.  Then,  when 
you've-  had  enough,  turn  the  sapphire. 
Get  over  there,  on  the  left,  against  the 
wall  of  the  arch,  so  that  you  can  slip  into 
his  den  at  once,  without  making  a  noise. 
.  .  .  Look  out!  The  door  will  disap- 
pear! And  I'll  take  myself  off  this  way! 
.  .  .  (She  touches  the  great  lock  with  her 
wand. ) 

54 


Scene  III 

The  Miser's  Cave 

( The  heavy  doors  open  in  the  middle,  slide 
right  and  left  and  disappear  in  the 
slips,  revealing  the  whole  of  THE 
Miser's  den,  an  immense  cave  with 
low  arches  in  which  are  piled  large 
sacks  bursting  with  gold,  silver  and 
copper  coins.  The  only  light  comes 
from  a  wretched  smoking  candle. 
Tyltyl  hides  himself  as  well  as  he 
can  in  a  dark  corner.  The  Miser, 
an  old,  hook-nosed  man,  with  a  dirty 
white  heard  and  long,  scanty  hair,  is 
dressed  in  a  sort  of  squalid,  patched 
dressing-gown.  On  the  floor  is  an 
55 


The  Betrothal; 

ol^  carpet,  with  three  sacks  bulging 
with  gold  at  one  corner.) 

The  Miser 
To-day  I  shall  count  the  contents  of 
these  three  sacks  all  over  again.  I  must 
have  made  a  mistake  in  my  last  reckoning. 
There  are  three  louis  missing.  Three 
louis  are  sixty  francs,  which  make  a  con- 
siderable difference  in  a  total  of  six  hun- 
dred thousand  francs.  It's  quite  impos- 
sible to  sleep  with  that  anxiety  on  one's 
mind.  Each  of  these  three  sacks  ought  to 
hold  two  hundred  thousand  francs,  the 
first  and  second  in  louis  of  twenty  francs 
and  the  third  in  ten-franc  pieces.  I  shall 
empty  them  on  the  carpet  first  to  see 
what  a  lovely  heap  they  make.  .  .  .  {He 
empties  the  contents  of  the  first  sack  on 
the  carpet.)  How  they  sparkle,  how  they 
sparkle!  .  .  .  What  a  lot  of  them  there 
56 


or,  The  Blue  Bird  Chooses 

are !  .  .  .  When  you  see  the  gold  spread- 
ing itself  out,  it's  impossible  to  believe 
that  it  all  could  go  into  one  sack  I  .  .  . 
Let's  have  another.  .  .  .  This  is  the  sack 
with  the  little  ten-franc  pieces.  .  .  .  {He 
empties  a  second  sack.)  They  are  as 
lovely  as  the  big  ones.  .  .  .  They  are 
younger,  that's  all,  and  there  are  more  of 
them.  .  .  .  Now  let's  see  what  the  third 
holds.  .  .  .  {He  empties  the  third  sack. 
A  few  gold  coins  roll  of  the  carpet.  He 
throws  himself  flat  on  the  floor  to  catch 
them.)  Oh,  no,  oh,  no,  children!  .  .  . 
This  won't  dol  .  .  .  You  mustn't  run 
away  like  that!  .  .  .  Nothing  is  allowed 
to  leave  this  cave!  .  .  .  Trying  to  hide 
yourselves,  are  you?  To  go  where,  pray? 
Don't  you  know  that  there's  no  place  like 
home  ?  .  .  .  Fancy  running  away  like  that 
from  daddy !  I  should  never  have  thought 
it  of  you !  This  way,  children,  this  way, 
57 


The  Betrothal; 

darlings.  This  way,  my  pretty  onesl 
Back  to  the  heap,  back  to  the  cradle,  then 
you'll  be  happy  I  .  .  .  {He  picks  up  a  coin 
which  has  rolled  farther  than  the  rest.) 
Don't  do  it  again,  you:  you're  always 
making  off ;  you're  a  little  torment  and  you 
set  a  bad  example.  Beg  my  pardon,  or 
I'll  punish  you.  You  shall  be  the  first  to 
be  spent;  I'll  give  you  to  a  beggar,  do  you 
hear?  .  .  .  {Kissing  it.)  No,  no,  I'm 
only  pretending.  .  .  .  There,  there,  don't 
cry!  ...  I  was  merely  frightening  you. 
...  I  love  you  all  the  same,  but  don't  do 
it  again!  .  .  .  Here,  here,  here,  they're 
here,  in  front  of  me  and  all  around  me. 
...  It  will  take  me  quite  a  fortnight  to 
count  them  all  and  to  weigh  them  in  my 
scales.  .  .  .  What  a  lot  of  them,  what  a 
lot  of  them!  And  how  pretty  they  are! 
...  I  know  them  every  one,  I  could  call 
them  by  their  names.  .  .  .  They  would 
58 


or,  The  Blue  Bird  Chooses 

need  a  hundred  and  twenty  thousand  dif- 
ferent names;  and  each  of  those  names 
stands  for  a  treasure!  .  .  .  {He  rolls  on 
the  carpet  amidst  the  gold.)  I  love  to  see 
them  close!  .  .  .  Oh,  what  a  cosy  bed! 
And  what  a  joy  it  is  to  be  among  one's 
daughters !  .  .  .  For  they  are  my  daugh- 
ters :  I  brought  them  into  the  world ;  I  have 
nurtured  them,  protected  them  from  harm, 
fondled  and  pampered  them ;  I  know  their 
history,  the  trouble  they've  given  me,  but 
all  is  forgotten :  they  love  me,  I  love  them 
and  we  shall  never  part  again!  .  .  .  Oh, 
what  a  fine  thing  happiness  is !  .  .  .  {He 
Jills  his  two  hands  with  the  gold,  makes  it 
trickle  over  his  heart,  on  his  forehead  and 
in  his  beard  and  utters  little  sighs  of  pleas- 
ure which  gradually  swell  into  roars  of  de- 
light. Suddenly,  he  shudders,  starts  and 
springs  up,  thinking  that  he  has  heard  a 
sound.)  What  is  it?  .  .  .  Who's  there? 
59 


The  Betrothal; 

.  .  .  (Reassuring  himself.)  No,  no,  It's 
nothing  ...  no  one  would  dare.  .  .  . 
(He  sees  Tyltyl  and  gives  a  shout.)  A 
thiefl  ...  A  thief!  ...  A  thief!  .  .  . 
You  here!  .  .  .  You  here!  .  .  .  (With 
his  hands  clutching  like  claws,  terrified  and 
terrifying,  he  rushes  upon  Tyltyl,  who 
jumps  hack  and  quickly  turns  the  sapphire. 
The  Miser  stops  short.  After  an  inward 
struggle  which  seems  violent  and  lasts  for 
some  seconds,  his  hands  drop  to  his  sides, 
his  face  brightens  and  loses  its  hardness. 
He  seems  to  wake  from  a  had  dream  and 
tries  to  wipe  the  memory  of  it  from  his 
forehead.  He  gazes  with  astonishment 
at  the  gold  spread  over  the  carpet,  feels 
and  pushes  it  with  his  foot,  seems  not  to 
know  what  it  is  and  then  addresses  Tyltyl 
in  a  very  calm  and  gentle  voice.) 

The  Miser 
You    must    have    awakened    me.  .  ,  . 
60 


or,  The  Blue  Bird  Chooses 

How  did  you  get  here?  .  .  .  What  have 
you  come  for?  .  .  . 

Tyltyl 
IVe  come  to  ask  you  to  lend  me  a  little 
money.  ...  I    understand    that   I   want 
some  in  order  to  discover  my  bride.  .  .  . 

The  Miser 
Have  you  anything  to  put  it  in? 

Tyltyl 
IVe  brought  this  wallet. 

The  Miser 
I  shall  be  delighted  to  fill  it  for  you ;  but 
I  warn  you  that  gold  is  very  heavy  and  that 
you  won't  be  able  to  carry  it  away. 

Tyltyl 

You  must  put  in  just  what  you  think  fit. 
61 


The  Betrothal; 

The  Miser 
(Pouring  the  gold  by  handfuls  into  the 
wallet.)  Help  me,  will  you?  .  .  .  We'll 
fill  it  to  the  brim  and  see  how  that  does. 
.  .  .  We  can  easily  lighten  it  afterwards, 
if  it's  too  heavy.  .  .  . 

Tylt 
Oh,  you're  giving  me  too  much,  I  don't 
want  all  that !  ...  So  you're  not  a  miser, 
as  they  told  me? 

The  Miser 
I?  Not  at  all.  Why  should  I  be? 
...  I  have  only  a  few  weeks  to  live 
and  am  not  in  need  of  anything.  ...  I 
hardly  eat  at  all ;  and  I  drink  nothing  but 
water. 

Tyltyl 

Why  were  you  lying  on  your  gold  when 
62 


or,  The  Blue  Bird  Chooses 

I  came  in,  kissing  it  and  calling  it  by  pet 
names?     You  seemed  to  worship  it. 

The  Miser 
Oh,  I  don't  know!  It  amuses  me. 
When  a  man  grows  old,  he  has  to  amuse 
himself  as  best  he  can.  .  .  .  But  it  isn't  I 
who  do  it.  All  that  is  only  a  sort  of 
dream.  I  am  thinking  of  something  very 
different.  .  .  .  All  men  are  like  that  at 
my  age.  They  are  not  often  where  you 
see  them;  they  are  not  often  doing  what 
they  appear  to  do;  and  every  one  lives  in 
one  of  those  dreams  which  have  nothing 
to  do  with  the  truth.  .  .  .  But  this  is  not 
the  moment  to  explain  things  to  you.  .  .  . 
There,  your  wallet  it  full.  Can  you  lift 
it? 

Tyltyl 

{Making  an  efort.)      No,  really,  it  is  a 
63 


The  Betrothal; 

bit  too  heavy.  .  .  .  Let's  take  some  of  it 
out.  .  .  . 

The  Miser 
{Emptying  part  of  the  wallet. )      I  dare- 
say that's  better. 

Tyltyl 
Oh,  look  here,  you're  taking  it  all !  .  .  . 
There  won't  be  enough  left.   ...  I  must 
put  a  little  of  it  back.  ... 

The  Miser 
I  say,  are  you  becoming  a  miser  now? 

Tyltyl 
No,  but  I  don't  know  that  I  shall  have 
a  chance  of  coming  back  again.   .   .  .  Just 
help    me    lift   the    wallet    on    my    shoul- 
der. ... 

The  Miser 
(Helping  him  with  the  wallet.)     There 
you  are! 

64 


or,  The  Blue  Bird  Chooses 

Tyltyl 
{Staggering  under  the  load.)     I  say, 
what  a  weight  gold  is ! 

The  Miser 
Don't  I  know  it  ?  .  .  .  Have  you  far  to 
go? 

Tyltyl 
I  really  can't  tell. 

The  Miser 
What's  the  weather  like  outside? 

Tyltyl 
It  was  bright  sunshine. 

The  Miser 

One   wouldn't   think   it    in    here.  .  .  . 

Fancy,  it's  years  since  I've  looked  at  the 

sky  or  the  green  trees  1  .  .  .  But  you  can't 

breathe  under  the  weight  of  your  bag,  you 

65 


The  Betrothal; 

poor  little  man !  .  .  .  Come,  kiss  me  good- 
bye: there's  no  knowing  when  we  shall 
meet  again.  .  .  .  Thanks  for  the  pleasant 
time  you  have  given  me  and  especially  for 
waking  me  up.  ...  I  shall  make  the  most 
of  my  remaining  days.  .  .  . 

Tyltyl 
Which  is  the  way  out? 

The  Miser 
That  way,  I  suppose. 

(Tyltyl  steps  forward  through  the 
arch.  The  doors  at  once  slide  and 
close  behind  him  and  he  is  left 
standing  alone,  in  the  dark,  in  front 
of  the  great  shut  door,) 

Tyltyl 
It's     dark.  .  .  .  I'm     all     alone.  .  .  . 
Where  am  I  ?  .  .  .  Where  am  I  to  go  ? 


or,  The  Blue  Bird  Chooses 

Destiny 
{Looming    up    out    of    the    shadow.) 
This  way ! 

Tyltyl 
Hullo!     You're    there,     are    you?     I 
thought  you  had  deserted  me.  .  .  . 

Destiny 
{Grasping  his  hand.)      I  was  here  all 
the    time.  ...  I    never    lose    sight    of 
you.  .  .  . 

Tyltyl  ' 

Yes,  but,  I  say,  don't  walk  so  fast !  .  .  . 
My  bag's  frightfully  heavy.  ...  It  would 
be  much  kinder  of  you  if  you  helped  me  to 
carry  it  a  little,  instead  of  making  me  rush 
along  like  this.  .  .  . 

Destiny 
I  am  not  man's  servant.  .  .  .  Forward, 
forward,  forward!  .  .  . 
{They  go  out.) 
67 


Scene  IV 

A  Closet  in  the  Fairy's  Palace 

A  sort  of  waiting-room  or  lumber-room 
containing  the  principal  accessories  of 
the  Tales  of  Mother  Goose:  Cinder- 
ella's pumpkin  and  glass  slipper;  Red 
Ridinghood's  cake  and  bowl;  Hop- 
o'-my-Thumb's  pebbles;  the  Ogre's 
daughters'  golden  crowns;  the  Sleep- 
ing Beauty's  distaff  and  snake-tub; 
the  Giant's  seven-leagued  boots;  Blue 
Beard's  key ;  the  Blue  Bird  in  his  sil- 
ver cage;  and,  hanging  from  the  wall, 
Cats  kin's  weather-coloured,  moon-col- 
oured and  sun-coloured  dresses.  All 
these  things  look  rather  tawdry  in  the 
grey  and  unbecoming  light.  Tyl- 
68 


or,  The  Blue  Bird  Chooses 

TYL's  seven  little  friends  are  locked  up 
in  this  room.  In  the  same  unsympa- 
thetic light  they  look  much  less  pretty 
than  when  they  entered  the  cottage 
and  they  seem  rather  tired,  discon- 
tented and  glum,  except  the  Veiled 
Girl,  who  stands  on  one  side,  motion- 
less, impassive  and  unrevealing. 

Belline 
Where  have  they  brought  us? 

Rosarelle 
I  don't  know;  but  I  must  say  that  it's 
not  a  nice  place  in  which  to  keep  young 
ladies  waiting. 

Belline 
Yes,  it  looks  like  a  lumber-room  where 
they've  stored  all  the  odds  and  ends  and 
litter  of  the  house. 

G9 


The  Betrothal; 

ROSARELLE 

(Touching  the  various  objects  in  dis- 
gust.) What's  this?  A  distaff?  Bless 
me,  what  for?  ...  A  pumpkin,  a  cake, 
an  old  bowl  and  goodness  knows  what 
else  I  ...  A  tub  full  of  dead  eels  I  Gra- 
cious, how  they  smell  1  .  .  .  It's  all  dis- 
gracefully kept.  .  .  .  And  that  lot  of  old 
fly-blown,  spun-glass  dresses!  .  .  .  My 
dear,  how  horrible!  .  .  .  What  sort  of 
place  can  this  be?  A  potting-shed,  a 
rag-and-bone  shop,  a  pawn-broker's,  or  a 
thieves'  kitchen  ?  Whom  can  it  belong  to  ? 
A  receiver  of  stolen  goods?  (Touching 
the  more  bizarre  dresses.)  Or  a  Hotten- 
tot dressmaker? 

Belline 

There's  something  of  everything  .  .  . 
except  a  broom  and  a  duster. 
70 


or,  The  Blue  Bird  Chooses 

ROSARELLE 

One  wouldn't  be  enough. 

Belline 
And  nothing  to  sit  on  but  an  old  wooden 
bench.  .  .  . 

ROSARELLE 

But  it's  carved,  my  love  I  .  .  . 

Belline 
Yes,  carved  in  dust. 

RoSARELLE 

Reach  me  one  of  those  hideous  rags  and 
let  me  wipe  it.  .  .  . 

Belline 

{Eagerly    and    obsequiously.)     Wait, 

miss,   I'll   do   that.  .  .  .    {She   takes   the 

moon-coloured  dress   and  dusts   the  seat 

with  it.)     There,   that's   a  little   better; 

71     ■ 


The  Betrothal; 

that's   at   least  one   corner   nearly   clean 
enough  to  sit  on. 

ROSARELLE 

{Sitting  down.)     I'm  tired  out  I 

Belline 
(Sitting  down  beside  her.)     So  am  I;' 
my  feet  are  dreadfully  sore. 

RoSARELLE 

(Looking  around  through  her  lor- 
gnette.) But  what  I  want  to  know  is 
where  have  we  got  to?  My  dear,  have 
we  fallen  into  a  trap  ? 

Belline 
The  company  certainly  is  a  little  mixed. 
There's   the   miller's    daughter,    the    girl 
from  the  inn,  the  wood-cutter  .  .  . 

Rosarf.lle 
Or  rather,   to  be  accurate,  the  wood- 

72 


or,  The  Blue  Bird  Chooses 

stealer.  .  .  .  There's  even  the  little  beg- 
gar-girl from  the  bridge  by  the  Hermitage, 
to  whom  I  refused  a  penny  last  Sunday. 
.  .  .  My  dear,  you  should  have  heard  the 
insolent  way  in  which  she  asked  for 
it!  .  .  . 

Belline 
And  what's  that  white  image  standing 
in  the  corner,  the  one  that  never  stirs, 
never  speaks  and  follows  us  wherever  we 
go? 

ROSARELLE 

That  great  lump  of  clay,  that  ugly  wax- 
work?    That  washed-out  plaster  saint? 

Belline 
She  looks  very  ill. 

RoSARELLE 

She  may  have  Jewish  leprosy  or  Zanzi- 
bar plague  or  Bombay  cholera.  ...  I  tell 
73 


The  Betrothal; 

you,  we  must  be  careful:  that's  all  very 
catching.  .  .  . 

AlMETTE 

(Coming  up  to  the  bench  timidly.)  I 
should  like  to  sit  down  too,  I'm  very 
tired.  .  .  . 

ROSARELLE 

Mind  what  you're  about,  miss!  .  .  . 
There's  dust  enough  as  it  is ;  I  don't  want 
flour  into  the  bargain. 

ROSELLE 

What's  all  this,  what's  all  this?    Are 
,we  turning  up  our  nose  at  flour  now? 

RoSARELLE 

I  wasn't  addressing  my  remarks  to  you, 
madam. 

RoSELLE 

No,  but  I'm  speaking  to  you.  What 
bread  would  you  eat  if  you  had  no  flour? 

74 


or,  The  Blue  Bird  Chooses 

ROSARELLE 

You  would  do  better  to  tell  your  father 
to  pay  the  three  quarters'  rent  that's  in 
arrear. 

ROSELLE 

He'll  pay  his  rent  when  your  horrid  old 
miser  of  a  grandfather  has  seen  to  those 
repairs.  We've  been  asking  to  have  them 
done  these  last  three  years. 

Belline 
Is  it  the  repairs  that  prevent  your  father 
from  paying  his  butcher's  bills? 

RoSELLE 

Does  he  owe  anything  at  your  shop  ? 

Belline 
It's  six  months  since  we  saw  the  colour 
of  his  money. 

75 


The  Betrothal; 

ROSELLE 

He's  waiting  to  see  the  colour  of  yours 
at  the  inn. 

Belline 
Of  mine  indeed  ?     You  can  wait  a  long 
time  before  I  set  foot  in  your  dirty  dram- 
shop. 

RosELLE 
Yes,  but  that  father  of  yours  isn't  so 
squeamish  when  he  comes  on  Sundays  and 
tipples  till  we  have  to  put  him  out  dead- 
drunk. 

ROSARELLE 

Don't  answer  her,  my  dear;  we  are  not 
accustomed  to  these  pot-house  brawls. 

RosELLE 

As  for  you,  miss,  who  pretend  to  be  so 

particular,  you  just  go  and  ask  your  father, 

the  mayor,  who  it  was  that  nibbled  the 

76 


or,  The  Blue  Bird  Chooses 

holes,  which  were  not  made  by  rats,  in  the 
town's  cash-box. 


ROSARELLE 
{Springing    to     her    feet,    furiously.) 
Holes    which    were   not   made    by    rats  I 
What  do  you  mean? 

ROSELLE 

I  mean  what  every  one  in  the  village 
means !  .  .  . 

RoSARELLE 

Mind  what  you're  saying;  and  say  it 
again  if  you  dare. 

RoSELLE 

Well,  what  would  you  do  if  I  did  say  It 
again?  You  don't  frighten  me  with  your 
airs  and  graces. 

77 


The  Betrothal; 

ROSARELLE 

Never  mind  my  airs  and  graces ;  I'll  soon 
show  you  what  I'll  do. 

ROSELLE 

Well,  then,  I  do  say  it  again. 

RoSARELLE 

(Boxing  her  ears.)     And  take  that  for 
your  answer  1  .  .  . 

{Piercing  screams  and  a  general  tur- 
moil. RoSELLE  and  AlMETTE 
make  a  rush  at  Belline  and  Ro- 
SARELLE,  while  Milette  and  Jal- 
LINE  vainly  try  to  separate  the 
combatants.  The  Veiled  Girl 
alone  remains  motionless  in  her 
corner,  as  though  she  were  not  pre- 
sent. The  others  claw  one  an- 
other's faces,  tear  one  another's 
hair  and  end  by  uttering  such  pierc- 
78 


or,  The  Blue  Bird  Chooses 

ing  yells  and  shrieks  that  Tyltyl, 
returning  from  the  Misfr's,  hears 
them  from  the  far  end  of  the  pal- 
ace and  comes  running  up,  scared 
and  dismayed.  He  is  bare-headed 
and  only  half-dressed  and  does  not 
understand  what  is  going  on.) 

Tyltyl 
What     is     it?     What's     the     matter? 
What  has  happened?     An  accident?     Are 
you  hurt?     What  have  you  been  doing? 

The  Girls 
{All  speaking  together.)  It's  she  I 
.  .  .  No,  no,  it  was  Rosarelle  who  began ! 
.  .  .  I  tell  you,  it  was  she!  .  .  .  She  In- 
sulted me  I  .  .  .  She  boxed  my  ears !  .  .  . 
She  dared  to  talk  against  my  father  I  .  .  . 
She  spoke  ill  of  my  mother  1  .  .  .  She's 
lying,  she's  lying!  .  .  .  She  nearly  pulled 
79 


The  Betrothal; 

my  ear  off!  .  .  .  She's  driven  a  hairpin 
into  my  cheek !  .  .  . 

{Enter  the  Fairy.) 

The  Fairy 
Why,  what's  the  matter? 

Tyltyl 
(In  bewilderment.)  I  don't  know, 
ma'am.  I  think  they  must  have  gone  mad. 
They  were  so  sweet  when  I  left  them.  I 
should  never  have  known  them  I  .  .  . 
Look,  look,  they  are  quite  different!  .  .  . 
Rosarelle  and  Belline's  eyes  are  blazing 
like  furies',  Aimette  looks  so  spiteful  and 
Roselle  so  brazen,  Jalline  hasn't  washed 
herself  and  Milette's  cheeks  are  as  red  as 
a  turkey-cock's.  .  .  .  (Bursting  into  tears 
and  hiding  his  eyes  with  his  arm,  like  a 
child  crying.)  I  can't  bear  it!  Oh,  I 
can't  bear  it ! 

80 


or,  The  Blue  Bird  Chooses 

The  Fairy 
But,  you  little  silly,  it's  your  own  fault  I 

Tyltyl 
My  fault? 

The  Fairy 
Yes,   of  course,    it's   your   fault.  .  .  . 
And,  first,  where  have  you  come  from? 
What  have  you  done  with  your  jacket  and 
your  green  hat? 

Tyltyl 

Why,  ma'am,  I  was  busy  dressing;  I  was 
putting  on  the  little  pair  of  silk  breeches 
and  the  jacket  embroidered  with  pearls 
which  you  told  me  I  was  to  wear  when  I 
went  to  see  the  Ancestors.  .  .  .  Then  I 
heard  screams,  dropped  everything,  ran 
up  and  found  them  fighting,  tearing  out  one 
81 


The  Betrothal; 

another's  hair  and  scratching  one  another's 
faces.  .  .  . 

The  Fairy 
A  pretty  business !  .  .  .  That  will  teach 
you  to  run  after  them  without  your  talis- 
man, which  reveals  the  truth,  ...  I  call 
it  most  incorrect  and  improper.  .  .  . 
Don't  you  see  that  you  are  not  seeing  them 
now  as  they  are?  .  .  . 

Tyltyl 
I'm  not  seeing  them  as  they  are?  .  .  . 
Then  how  do  I  see  them?  .  .  . 

The  Fairy 

Why,  as  they  are  not,  that  is  to  say,  as 
you  ought  never  to  see  them.  .  .  .  It's  all 
so  wonderfully  simple :  anything  that's  ugly 
isn't  true,  never  has  been  true  and  never 
will  be. 


or,  The  Blue  Bird  Chooses 

Tyltyl 
That's  easily  said;  but  you  see  what  you 
do  see. 

The  Fairy 

When  you  see  what  you  do  see,  you 
see  nothing  at  all.  .  .  .  I've  told  you  be- 
fore, it's  what  you  do  not  see  that  makes 
the  world  go  round.  .  .  .  All  this  doesn't 
count;  it's  only  a  little  foam  on  the  sur- 
face of  the  ocean.  .  .  .  But  run  quickly 
and  fetch  the  sapphire  and  we  shall  once 
more  see  deep  down  into  their  souls,  the 
truth  of  their  hearts  and  the  well-spring  of 
their  hfe.  .  .  .  Wait,  you  needn't  trouble : 
I  sec  Light  coming;  she  has  brought  you 
your  hat. 

(Enter  Light.) 

Light 

Good-evening,  Tyltyl. 
83 


The  Betrothal; 

Tyltyl 
( Throwing  himself  passionately  into  her 
arms.)  Oh,  Light,  Light!  .  .  .  It's  my 
dear  Light !  .  .  .  Where  were  you  ?  .  .  . 
What  have  you  been  doing  ever  since  I 
saw  you  last?  ...  I  have  missed  you  so 
much  and  looked  for  you  so  often  I  .  .  . 

Light 
My  dear  little  Tyltyl!  .  .  .  I  have 
never  lost  sight  of  you.  ...  I  have 
guided  you  and  counselled  you  and  kissed 
you  very  often,  without  your  knowing  it. 
.  .  .  But  we  will  talk  about  all  this  later; 
to-day  we  have  no  time;  I  have  only  one 
night  to  give  you  and  there  is  a  great  deal 
to  be  done. 

{Enter  Destiny.) 

Destiny 

Where  is  Tyltyl  ? 

84 


or,  The  Blue  Bird  Chooses 

Tyltyl 
Here.     I'm  not  trying  to  hide. 

Destiny 
And  quite  right  too,  for  it  would  be  no 
use;  there's  no  escaping  me.  .  .  . 

Tyltyl 
(Contemplating  him  in  astonishment.) 
But  what's  the  matter  with  you?  .  .  . 
What  has  happened  to  you?  You  look 
so  much  smaller!  .  .  .  You  seem  to  be 
less  tall  and  less  broad.  .  .  .  You're  not 
ill,  are  you  ?  .  .  . 

Destiny 
(Who  has  indeed  shrunk  appreciably.) 
I  ?  I  never  change,  I  am  always  the  same ; 
I  am  insuperable,  insensible,  invulnerable, 
immutable,  inexorable,  irresistible,  invis- 
ible, inflexible  and  irrevocable !  .  .  . 
85 


The  Betrothal; 

Tyltyl 
All  right,   all  right,   what  I  said  was 
merely  .  .  . 

The  Fairy 
(Aside,  to  Tyltyl.)  Be  quiet,  you 
will  only  vex  him  and  he  will  get  out  of 
hand.  ...  It  is  probably  being  so  close  to 
Light  that  has  upset  him;  they  never  did 
agree.  .  .  .  (Aloud.)  Come,  children, 
it's  time.  .  .  .  Put  on  your  hat,  Tyltyl, 
and  turn  the  sapphire;  we  shall  see  what 
happens:  sometimes  it  works  upon  people's 
hearts,  sometimes  on  their  minds,  some- 
times on  the  objects  around  them  and  often 
on  all  three ;  one  cannot  tell  before- 
hand. .  .  . 

(He  turns  the  sapphire.     The  closet 
brightens  with  a  blue  and  super- 
natural light  which  gives   beauty 
and  life  to  everything  in  the  room; 
86 


or,  The  Blue  Bird  Chooses 

the  accessories  of  Mother  Goose 
seem  to  wake  up:  the  spindle  re- 
volves  madly  and  unreels  threads 
of  gold  and  crystal;  the  pumpkin 
swells,  sways  from  side  to  side  and 
lights  up;  the  Blue  Bird  bursts 
into  song;  the  snake-tub  bubbles 
and  pours  forth  fruits  and  flowers; 
the  moon-coloured  and  sun-col- 
oured dresses  wave  and  glitter;  the 
columns  and  aisles  gleam  with 
precious  stones.  But  the  group  of 
Girls  especially  undergoes  a  radi- 
cal and  wonderful  transformation: 
their  features  relax,  their  eyes  open 
wider,  smiles  blossom  on  their  lips, 
their  frocks  become  gay  and  splen- 
did, innocence,  gladness,  kindness 
and  beauty  bloom  once  more;  and 
Tyltyl,  in  an  ecstasy,  clapping  his 
hands,  intoxicated  with  delight, 
87 


The  Betrothal; 

rushes  into  the  midst  of  them,  giv- 
ing and  receiving  kisses  and  not 
knowing  which  of  them  to  listen 
to.) 

Tyltyl 
They're  themselves  again,  they're  them- 
selves again!  .  .  .  How  lovely  they  are, 
how  lovely  they  are !  .  .  .  Jalline,  Milette 
my  darling,  Aimette,  BeUine  darling,  Ro- 
sarelle,  Roselle  I  .  .  .  They  are  all  as  they 
were  before  and  I  love  every  one  of  them ! 
.  .  .  Let  us  kiss  again,  again,  again !  .  .  . 
Oh,  let  us  kiss  for  ever  I  .  .  . 

{At  this  moment,  THE  Veiled  Girl, 
who  has  played  no  part  in  the  trans- 
figuration or  in  the  general  ecstasy, 
staggers  in  her  corner  and,  without 
uttering  a  sound,  falls  suddenly  and 
unresistingly,  like  a  statue,  and  lies 
motionless,  stretched  on  the  floor. 
88 


or,  The  Blue  Bird  Chooses 

Silence,  terror  and  consternation, 
followed  by  cries  and  bustle;  THE 
Girls  rush  to  her  assistance  and 
gather  eagerly  round  her.) 

ROSELLE 

[Lifting    her   up.)     Help    me,    some- 
body ! 

ROSARELLE 

She  isn't  hurt,  is  she? 

RoSELLE 

{Examining  her  anxiously.)      No,  no,  I 
can't  see  anything. 

AlMETTE 

{Stroking  her  forehead.)      She's  breath- 
ing, she's  sighing. 

RbSARELLE 

{Kissing  her.)     She  has  only  fainted. 
89 


The  Betrothal; 

.  .  .  Tell  us  what  you  feel.  .  .  .  You're 
not  in  pain,  dear,  are  you  ? 

MiLETTE 

She  doesn't  answer. 

Jalline 
( Taking  one  of  her  hands  and  stroking 
it.)     Perhaps  she's  hungry. 

Milette 
{Stroking  the  other  hand.)     No,  can't 
you  feel  ?     She's  cold. 

Jalline 
Will  you  have  my  cloak? 

ROSELLE 

No,  no,  it's  not  that.  .  .  .  What  she 
wants  is  a  drop  of  brandy.  ...  I  haven't 
my    bottle.  .  .  .  And    don't    all    crowd 
90 


or,  The  Blue  Bird  Chooses 

round  her,  she's  suffocating.     She  wants 
air!  .  .  . 

ROSARELLE 

{Supporting  her  head.)  Have  you 
some  water  there  ?  .  .  .  We  ought  to  send 
for  a  doctor.  ...  * 

Belline 
She's    as    white    as    marble.  .  .  .  She 
might  be  dead.  .  .  . 

RoSARELLE 

No,   no,   she's  coming  to.  ...  I   can 
hear  her  heart  beating.  .  .  . 

The  Fairy 
{Intervening.)  Come,  come,  it's  no- 
thing. ...  I  have  practised  medicine 
longer  than  men  have  and  know  a  little 
more  about  it.  Do  not  be  uneasy;  there 
is  nothing  to  fear ;  I  will  undertake  to  cure 
91 


The  Betrothal; 

her.  .  .  .  But  we  are  wasting  precious 
time,  the  night  is  passing  and  we  shall 
get  nothing  done.  ...  {To  THE  GiRLS.) 
Come,  dears,  go  and  dress  yourselves; 
your  cloaks  are  waiting  for  you  and  every- 
thing is  ready.  Just  follow  Light;  she 
will  advise  you.  .  .  .  We  will  meet  in  the 
great  ballroom  of  the  palace.  .  .  .  (The 
Girls  go  out,  preceded  by  Light.  To 
Destiny.)  You  too,  Destiny,  follow 
Light;  you  want  another  costume.  You 
can't  go  as  you  are.  One  must  not  be 
conspicuous,  especially  at  this  moment. 
.  .  .  (Destiny  obeys,  grudgingly.)  I 
don't  quite  know  how  to  dress  the  fellow. 
However,  Light  will  think  of  something: 
she  has  more  Imagination  than  L  .  .  . 
Let's  see  to  the  little  patient.  She's  better. 
.  .  .  {Helping  her  to  rise.)  There, 
there.  ...  Sit  down  on  this  bench.  .  .  . 
No?  .  .  .  You  prefer  to  stand  up?  .  .  . 
92 


or,  The  Blue  Bird  Chooses 

As  you  please:  in  that  case,  lean  against 
the  column,  for  the  walls  will  soon  disap- 
pear. .  .  .  Now  that  we  are  alone,  Tyltyl, 
will  you  tell  me  at  last,  between  ourselves, 
who  that  girl  is  ?  .  .  . 

Tyltyl 
But,  ma'am,  I  don't  know  at  all.  .  .  . 

The  Fairy 
You    must    make    an    effort.  .  .  .  She 
can't  live  unless  you  remember  who  she  is. 
.  .  .  It's  a  great  responsibility. 

Tyltyl 
But  it's  not  my  fault.  .  .  .  I've  done 
what  I  could ;  I  can't  make  it  out. 

The  Fairy 

So  much  the  worse  for  you.     I  can't 

understand     it     either.  .  .  .  Come,     get 

dressed.     Here's   the  little  jacket  which 

93 


The  Betrothal 

Light  brought  you.  .  .  .  And  now,  with 
one  stroke  of  the  wand,  we  will  enter  the 
ballroom  and  see  what  your  little  friends 
have  made  of  themselves.  {She  touches 
the  panels  of  the  closet,  which  disappear. ) 


94 


Scene  V 

A  Ballroom  in  the  Fairy's  Palace 

(All  that  remains  standing  is  the  columns 
and  aisles  forming  the  portico  of  an 
immense,  luminous  room,  which  might 
have  been  hewn  and  carved  out  of  a 
mountain  of  amber.  Under  the  daz- 
zling arches  the  Six  Girls  move 
about,  arrayed  in  resplendent,  trailing 
gowns,  with  their  feet  encased  in  gilt 
sandals,  their  hair  hanging  loose  and 
their  hands  filled  with  flowers.  They 
joyously  beckon  to  Tyltyl,  who,  at 
first  dumbfounded,  rushes  towards 
them  and  joins  in  their  games  and 
dances.  The  Veiled  Girl  alone 
95 


The  Betrothal 

stands  on  one  side,  leaning  against 
the  column,) 

The  Fairy 
{Observing  Destiny,  draped  in  a  long 
black  cape,  with  a  broad-brimmed  Spanish 
sombrero  on  his  head.)  I  say,  there's 
Destiny!  .  .  .  She  has  dressed  him  like 
the  villain  in  a  play!  .  .  .  {Clapping  her 
hands.)  Come,  children,  it  is  time  to  be 
starting.  .  .  .  All  this  doesn't  count:  the 
real  work  is  about  to  begin.  .  .  . 


Curtain 


96 


ACT  III 


ACT  III 

Scene  VI 
Before  the  Curtain  representing  Rocks 
{Enter  Tyltyl  and  Light.) 

Tyltyl 
{Out  of  breath,  dropping  on  to  a  boul- 
der.)    They  live  a  long  way  up,  the  An- 
cestors! .  .  .  Aren't  you  tired? 

Light 
No,  I  was  born  in  the  mountains. 

Tyltyl 
{Bending  over  a  crevice.)     You're  not 
like  Destiny,  who  has  almost  given  out. 
99 


The  Betrothal; 

.  .  .  He's  still  at  the  bottom  of  the  last 
precipice,  with  my  little  friends.  .  .  .  He 
stumbles  at  every  step  and  is  limping 
badly.  .  .  .  They  won't  be  here  yet 
awhile;  and  I  am  very  glad  to  have  a  mo- 
ment alone  with  you,  before  they  come,  for 
I  have  a  lot  of  things  to  ask  you.  .  .  . 

Light 
Ask  me  anything  you  like,  dear;  I  will 
do  my  best  to  answer. 

Tyltyl 

What  do  you  think  of  these  little  friends 
of  mine?  ...  If  you  had  to  choose, 
which  would  you  take  ?  .  .  . 

Light 
I  like  them  all,  but  it  is  not  for  me  to 
choose ;  no  one  but  yourself  can  tell  which 
one  you  love  best. 

100 


or,  The  Blue  Bird  Chooses 

Tyltyl 

Ah,  that's  not  so  easy!  .  .  .  You  see,  I 

love  them  all!  .  .  .  For  instance,  I  love 

little  Jalline,  the  beggar's  daughter :  she  is 

so  gentle  and  sweet,  such  a  darling!  .  .  . 

Light 
Yes,  she  is  very  attractive :  a  pretty  little 
creature,  with  a  pure  and  simple  mind.  .  .  . 

Tyltyl 
But  I  also  love  the  Mayor's  daughter, 
Rosarelle.  .  .  .  She  is  really  very  beauti- 
ful, not  a  bit  conceited  and  much  better- 
educated  than  the  others.  .  .  .  And  then 
think  of  what  she  has  done:  she  has  left 
everything  to  go  with  me.  ... 

Light 
Yes,    that    is    the    proof    of    a    real 
love.  .  .  . 

101 


The  Betrothal; 
Tyltyl 

But  I  also  love  Roselle,  the  inn-keeper's 
daughter,  who  is  a  very  pretty  girl,  so 
healthy  and  strong  and  frank  and  brave 
and  cheerful  and  amusing :  you  can't  think 
how  kind  and  affectionate  she  is.  .  .  . 

Light 
Yes,  she  has  qualities;  and  I  too  find  her 
very  sympathetic.  .  .  . 

Tyltyl 

But  I  also  love  the  wood-cutter's  daugh- 
ter, Milette.  .  .  .  She  has  such  beautiful 
eyes  and  hair  I  ...  At  first  she  seems  a 
little  awkward,  a  little  shy;  but  it's  quite 
different  when  you  know  her :  she  is  really 
very  playful  and  full  of  fun.  .  .  .  And 
then,  have  you  noticed  her  mouth  and  her 
teeth? 

102 


or,  The  Blue  Bird  Chooses 

Light 
Yes,  I've  noticed  them.  .  .  . 

Tyltyl 
But  I  also  love  Belline,  the  butcher's 
daughter.  .  .  .  To  begin  with,  she's  my 
cousin ;  and  one  always  loves  one's  cousins. 
And  then  there's  something  about  her  dark 
beautiful  eyes  that  frightens  me  rather.  I 
adore  that.  .  .  .  But  she's  not  unkind,  not 
at  all.  .  .  .  Have  you  noticed  her  smile? 
One  can  never  tell  exactly  what  it 
means.  ... 

Light 
Yes,  she  has  a  strange  smile.  .  .  . 

Tyltyl 

But  I  also  love  the  miller's  daughter, 

Aimette.  .  .  .  To  begin  with,  she's  also 

my  cousin.  .  .  .  She  keeps  her  eyes  low- 

103 


The  Betrothal; 

ered  under  her  long,  curling  eyelashes ;  she 
blushes  when  you  look  at  her  and  weeps 
when  you  speak  to  her.  .  .  .  She  looks  a 
little  silly;  well,  she's  not  that  at  all. 
She's  quite  different  when  you  know  her  a 
bit.  .  .  .  She's  very  bright  and  very  jolly 
and  whispers  such  nice,  sweet  things  to  you 
that  you  at  once  want  to  kiss  her.  .  .  . 

Light 
I  can  see  that  the  choice  will  not  be  easy. 

Tyltyl 
Which  do  you  think  the  best? 

Light 
There  are  neither  better  nor  worse ;  each 
one  is  as  good  as  the  other;  and  all  are 
good  when  they  suffer  or  when  they  love. 

Tyltyl 

The  nuisance  is  that  it  seems  you  mustn't 
104 


or,  The  Blue  Bird  Chooses 

love  more  than  one.  .  .  .  Tell  me,  though, 
is  that  true,  or  is  it  only  one  of  the  things 
people  say  to  children  just  to  keep  them 
quiet? 

Light 
No,  it's  true.     When  you  love  many, 
that  merely  shows  that  you  haven't  yet 
found  the  one  whom  you  were  to  love. 

Tyltyl 
But,  after  all,  you,  who  know  everything 
and  s  je  everything,  must  know  better  than 
I  and  can  tell  me  what  I  ought  to  do. 

Light 
No,  dear,  that  is  beyond  me,  beyond  the 
range  of  my  sight.  It  is  for  this  very 
reason  that  we  are  going  to  consult  those 
who  do  know;  and  they  are  near  at  hand, 
because  it  is  in  you  that  they  live.  We 
seem  to  be  taking  a  great  journey:  that  is 
105 


The  Betrothal; 

an  illusion ;  we  are  not  going  outside  your- 
self and  all  our  adventures  are  happening 
within  you.  .  .  .  But  I  hear  your  little 
friends.     Where  is  your  green  hat? 

Tyltyl 
Here.     I  took  it  off  because  I  felt  hot. 

Light 
Put  it  on  again  quickly,  so  that  there 
may  be  no  more  misunderstandings,  and 
turn  the  sapphire. 

{He  does  so.  Forthwith,  on  every 
side,  all  sorts  of  monsters  emerge 
from  the  ground  and  from  be- 
tween the  rocks:  monsters  with 
more  or  less  human  or  animal 
shapes  and  grotesque,  brutish  or 
repulsive  faces.  They  hustle  Tyl- 
tyl, gather  together  and  dance 
round  him.) 

106 


or,  The  Blue  Bird  Chooses 

Tyltyl 
(Terrified.)     Hullo,  hullo,  what's  all 
this?  .  .  . 

Light 
Nothing.     You  must  have  turned  the 
sapphire  from  left  to  right. 

Tyltyl 

So  I  did,  I  believe;  I  forgot.  .  .  .  But 
what  do  they  want  with  me?  They  are 
pushing  up  against  me  and  snapping  at  my 
feet. 

Light 

They  won't  hurt  you;  they  are  merely 
your  own  thoughts,  which  you  sometimes 
secretly  think ;  now  you  have  set  them  free 
and  they  are  showing  themselves  for  an 
instant  as  they  are. 

Tyltyl 

What!  .  .  .  Are  my  thoughts  as  ugly 

107 


The  Betrothal; 

as   that?  ...  I    should   never  have   be- 
lieved it !  .  .  . 

Light 
Don't  take  it  so  much  to  heart!  .  .  . 
They  are  not  as  ugly  as  some,  because  you 
are  still  innocent  and  very  young.  ...  If 
you  were  to  see  those  of  other  men  1  .  .  . 
Besides,  you  have  beautiful  ones;  but  they 
are  more  reluctant  to  show  themselves. 
.  .  .  However,  I  see  the  girls  coming. 
.  .  .  Turn  the  sapphire  from  right  to  left, 
so  that  we  may  get  rid  of  these  monsters, 
whom  they  must  not  see.  .  .  . 

{He  does  so;  and  the  creatures  go 
back  into  the  ground.  Enter  THE 
Six  Girls,  preceded  by  Destiny 
and  followed,  at  a  distance,  by  THE 
White  Phantom,  who  keeps  on 
one  side.  They  surround  Tyltyl, 
overwhelming  him  with  caresses 
and  all  speaking  at  the  same  time. ) 
108 


or,  The  Blue  Bird  Chooses 

The  Girls 
Good-evening,  Tyltyl!  .  .  .  We've 
found  you  again !  .  .  .  We  were  so  anx- 
ious about  you  I  .  .  .  We  couldn't  keep 
up  with  you.  .  .  .  Aren't  you  tired  ?  .  .  . 
May  we  kiss  you?  .  .  .  Destiny  held  us 
back.  ...  I  wanted  to  run.  .  .  .  He 
stood  in  the  way.  .  .  .  Aren't  you  too 
hot?  .  .  .  Mind  you  don't  catch  cold. 
.  .  .  Kiss  me  tool  .  .  .  And  me  too! 
.  .  .  And  me  too !  .  .  . 

Tyltyl 
(Distributing  kisses  all  round.)  My 
sweethearts !  .  .  .  What  darlings  you  are, 
and  how  happy  I  feel !  .  .  .  I  hope  I  have 
not  made  you  walk  too  fast?  .  .  .  You 
must  forgive  me;  I  am  rather  in  a  hurry. 
.  .  .  Jalline  dear,  you  haven't  hurt  your 
foot,  have  you  ?  .  .  .  And  you,  Rosarelle? 
You  are  not  used  to  climbing  rocks.  .  .  . 
109 


The  Betrothal; 

Aimette's  hands  are  cold  and  Roselle  has 
made  herself  much  too  hot.  .  .  . 

Light 

Come,  we  will  talk  about  all  this  later. 
We  must  now  hasten  to  the  Ancestors,  who 
are  waiting  for  us  and  would  be  very  much 
annoyed  if  we  arrived  late.  .  .  . 

Destiny 
{Who  has  grown  smaller  still  and  is 
now  hardly  taller  than  a  man  of  average 
height.  He  seems  very  tired  and  sits  hud- 
dled on  a  boulder.)  Not  a  step  far- 
ther! ... 

Tyltyl 
Hullo  I     You've  grown  a  bit   smaller 
again!  .  .  . 

Destiny 
I  ?     I've  not  changed.     I  am  always  the 
same,  I  am  .  .  . 

110 


or,  The  Blue  Bird  Chooses 

Tyltyl 
I  know,  I  know.  .  .  .  It's  Light  being 
so  near,  perhaps  .  .  . 

Destiny 
Light  and  I  have  nothing  in  common. 
...  In  any  event,  I  alone  am  master  and 
I  order  a  halt.  .  .  . 

Light 

By  all  means ;  there  is  no  need  to  go  any 
farther.  We  have  arrived;  we  are  here 
without  taking  another  step,  at  the  abode 
of  the  Ancestors.  .  .  . 

(The  curtain  parts  and  opens  upon 
the  next  scene.) 


m 


Scene  VII 

The  Abode  of  the  Ancestors 

A  large  open  space,  under  an  Elysian 
light,  which  imparts  to  all  things  an 
aspect  of  ethereal  and  lasting  felicity 
and  unchanging  gladness.  The  hack 
and  the  two  sides  of  the  square  are 
formed  of  dwelling-places  of  differ- 
ent periods,  some  stately,  some  lowly, 
but  all  radiant  and  a  little  unreal.  In 
the  foreground,  on  the  right,  for  in- 
stance, is  the  entrance  to  the  cottage 
of  Tyltyl's  grandparents;  next 
comes  the  gable  of  a  farm-house  of 
older  date;  then  the  front  of  a  little 
eighteenth-century  shop;  and  thus  in 
succession,  running  from  right  to  left 
112 


or,  The  Blue  Bird  Chooses 

and  across  the  hack,  a  seventeenth' 
century  town-house,  a  sixteenth-cen- 
tury prison,  tavern  and  hospital,  a 
fifteenth-century  mansion;  some  thir- 
teenth-century hovels,  a  twelfth- 
century  church,  a  Gallo-Roman  farm 
and  villa,  and  so  on.  Intersecting 
the  background  at  the  middle  is  a 
street  in  endless  perspective,  bordered 
with  the  very  oldest  houses  and  lead- 
ing to  the  huts  and  caves  of  primitive 
mankind.  In  the  foreground  are  a 
few  stone  benches  standing  under  fine 
trees,  laurels,  plane-trees  or  cypresses. 
(Tyltyl,  Light,  Destiny  and  the  Six 
Girls  come  forward,  followed  at  a 
distance  by  the  White  Phantom, 
who  keeps  to  one  side  as  usual. 
They  have  taken  but  a  few  steps  when 
Gaffer  and  Granny  Tyl  come  hur- 
rying out  of  their  cottage  and,  with 
113 


The  Betrothal; 

exclamations  of  delight,  throw  them- 
selves into  Tyltyl's  arms.) 

Granny  Tyl 

Tyltyll  Tyltyl!  .  .  .  Gracious,  you 
again!  .  .  ,  But  this  time  it's  not  a  sur- 
prise. We  were  expecting  you;  we  were 
told  three  days  ago.  ,  .  .  All  the  same, 
though,  we're  so  glad  to  see  you  that  it's 
difficult  to  believe  at  first.  .  .  .  But  how 
big  and  strong  you've  grown,  dear  I  And 
so  good-looking:  I  should  never  have 
known  you  I  .  .  .  Oh,  dear,  how  nice  it  is 
to  get  a  kiss  like  this  now  and  again !  .  .  , 

Gaffer  Tyl 
Haven't     you     brought     Mytyl     this 
time?  .  .  . 

Granny  Tyl 

Of  course  he  hasn't;  you  know  it's  not 
114 


or,  The  Blue  Bird  Chooses 

her  turn  yet.  .  .  .  We  know  what  you're 
here  for,  Tyltyl :  it's  not  to  see  us  I  You 
needn't  blush !  .  .  .  You  young  rascal,  you 
scampi  .  .  .  There,  there,  you're  quite 
right;  and  the  sooner  you  set  about  it  the 
better.  ...  So  it's  one  of  these  girls  they 
have  to  choose? 

Tyltyl 
Yes,  Granny,  it  seems  so. 

Gaffer  Tyl 
{Eyeing  them  like  an  expert.)  Ho,  ho  I 
.  .  .  And,  my  word,  a  very  nice  lot  too! 
My  compliments  I  I  admire  your  taste. 
.  .  .  {Pointing  to  RosELLE.)  If  I  were 
you,  I'd  choose  that  one :  she's  the  prettiest 
and  the  plumpest. 

Granny  Tyl 

Hold  your  tongue^  no  one's  asking  your 
115 


The  Betrothal; 

advice :  you  know  you've  no  say  in  the  mat- 
ter. We're  still  too  young;  we've  hardly 
begun  to  get  cold  and  haven't  had  time  yet 
to  pick  up  things.  ...  It  takes  so  long; 
there's  so  much  to  learn  I  .  .  .  But  the 
others,  especially  the  oldest,  who  now  are 
the  youngest:  it's  they  who  know  every- 
thing. .  .  . 

Tyltyl 

What?     The  oldest  are  the  youngest  in 
this  country?  .  .  . 

Granny  Tyl 
Yes,  it  seems  one  gets  younger  as  one 
grows  older.  .  .  .  I'm  beginning  to  notice 
it  myself. 

Tyltyl 
That's  odd.  .  .  .  But  where  on  earth 
are  they?  ...  I  see  nobody.  .  .  . 
116 


or,  The  Blue  Bird  Chooses 

Gaffer  Tyl 
They'll  come  very  soon.  ...  I  wonder 
they're  not  here  yet. 

Tyltyl 
Are  there  many  of  them  ? 

Granny  Tyl 

What  do  you  think !  All  your  ancestors 
since  the  world  began!  There'd  be  so 
many  that  we  shouldn't  know  where  to 
put  them!  .  .  .  But  we  shall  only  see  a 
few  of  them.  A  good  many  are  travelling 
in  other  worlds;  and,  as  a  fact,  some  of  the 
oldest  are  always  away.  But  those  who 
are  on  the  spot  choose  in  the  name  of  all. 
They  always  agree ;  and  it  seems  they  very 
seldom  make  a  mistake.  .  .  .  But  here's 
one  coming  out  of  his  house.  You  see  the 
little  man  shutting  up  his  shop? 
117 


The  Betrothal; 

(A  spruce  Little  Man  is  seen  leav- 
ing  the  eighteenth-century  shop.) 

Tyltyl 
Who's  he? 

Granny  Tyl 
It's  your  grandfather's  grandfather;  he 
was  a  grocer  at  Versailles  in  the  reign  of 
Louis  the  Fifteenth. 

Tyltyl 
What  funny  clothes  I 

Granny  Tyl 
He  has  put  on  the  things  which  he 
wore  in  his  shop.  .  .  .  Here,  as  a  rule, 
the  weather  is  so  mild,  the  air  so  warm 
and  balmy,  that  we've  no  need  to  dress  our- 
selves; but  you  wouldn't  be  able  to  see  us 
if  we  had  no  clothes;  and  so,  in  your 
honour,  we've  put  on  those  we  used  to 
118 


or,  The  Blue  Bird  Chooses 

wear  on  earth.  .  .  .  It'll  be  quite  amus- 
ing: some  of  them  date  back  ever  so  far. 
.  .  .  Look,  there  they  come,  out  of  the 
houses  they  once  lived  in.  .  .  . 

{Enter  from  the  town-house  a  Citi- 
zen of  the  time  of  Louis  XIV; 
from  the  sixteenth-century  prison  a 
Prisoner  still  wearing  chains  and 
irons  on  his  feet  and  hands.  His 
shackles  now  seem  to  he  light  and 
cause  him  no  inconvenience.  He 
attracts  Tyltyl's  attention.) 

Tyltyl 
Who  is  that  one  ?     Was  he  chained  up  ? 

Granny  Tyl 
Yes,  he  is  one  of  your  ancestors  who 
spent  nearly  all  his  life  in  prison. 

Tyltyl 
It's  not  a  thing  to  boast  of;  he'd  have 
done  better  to  stay  at  home. 
11& 


The  Betrothal; 

Granny  Tyl 
He  did  nothing  wrong.  He  used  to 
steal  bread  or  other  little  things  which  one 
could  eat,  to  keep  his  children  from  starv- 
ing. He  suffered  a  great  deal;  we  think 
a  lot  of  him.  .  .  . 

(The  Ancestors  continue  to  leave 
their  houses.  An  imposing  and 
richly-dressed  Man  appears  on 
the  threshold  of  the  fifteenth-cen- 
tury mansion.) 

Tyltyl 
{Pointing  to  him.)      And  that  one? 

Gaffer  Tyl 
That  one  is  the  richest.  ...  It  appears 
we  were  very  rich  at  one  time,  but  that 
didn't  last.  .  .  .  However,  it  doesn't  mat- 
ter here:  the  only  thing  that  counts,  it 
seems,  is  what  a  man  has  done  or  thought. 
120 


or,  The  Blue  Bird  Chooses 

...  For  instance,  you  see  those  beggars 
over  there,  coming  out  of  the  church? 

{Enter  from  the  twelfth-century 
church  some  four  or  five  Beggars, 
clad  in  rags  that  are  pitiful  to  look 
at,  hut  idealized  by  the  fairy  atmo- 
sphere. ) 

Tyltyl 
Yes,  any  number  of  them. 

Gaffer  Tyl 
Well,  it  seems  that  several  generations 
of  us  were  beggars.  .  .  .  We  succeeded 
one  another,  father  and  son,  at  the  same 
church  and  in  the  same  doorway.  It  was 
very  good  for  us,  they  say.  It  taught  us 
patience,  resignation,  endurance,  temper- 
ance and  the  habit  of  never  catching  cold. 
.  .  .  But  do  you  see  the  oldest,  the  one 
who  looks  poorest  of  all? 
121 


The  Betrothal; 

Tyltyl 
The  one  with  the  beautiful  white  beard? 

Gaffer  Tyl 
Precisely.  .  .  .  Well,  he's  the  Great 
Mendicant,  the  one  whom  we  respect  most, 
first  because  he  has  an  iron  constitution 
and  next  because  he  appears  to  have 
thought  a  very  great  deal  in  his  corner 
under  the  porch.  .  .  .  They  say  it's  he 
who  did  most  to  develop  our  brains. 

Tyltyl 
But  I  don't  see  any  women  among  them. 
Where  are  their  wives?     Weren't  they 
married  ? 

Granny  Tyl 

Of  course  they  were ;  but  there's  nothing 
for  us  women  to  do  to-day.     The  men 
choose  the  women  and  the  women  the  men. 
122 


or,  The  Blue  Bird  Chooses 

.  .  .  When  Mytyl  comes,  it  will  be  our 
turn. 

Tyltyl 
Look,  there  are  three  more. 

{A  diseased  Man  comes  out  of  the 
hospital;  another,  carrying  a  bottle 
and  looking  rather  tipsy,  out  of  the 
tavern;  and,  lastly,  out  of  the 
prison,  a  third  figure,  hairy  and 
savage  of  aspect,  brandishing  a 
blood-stained  knife. ) 

Gaffer  Tyl 
(Dismayed.)     I   don't   like   this.  .  .  . 
It's  very  tiresome  that  they  should  have 
been  told 

Tyltyl 
Why,  who  are  they? 

Gaffer  Tyl  ,     ' 

An  ugly  lot,  those  three:  the  sick  man, 
123 


The  Betrothal; 

the    drunkard    and    the    murderer.  .  .  , 
They've  done  us  a  deal  of  harm. 

Tyltyl 
Then  there  was  a  murderer  in  the  fam- 
ily? 

Gaffer  Tyl 
Of  course,  as  in  every  family.  Fortu- 
nately, none  of  the  three  has  much  influ- 
ence over  us.  As  you  see,  they  are  small 
and  sickly;  they  shrink  from  century  to  cen- 
tury and  are  nothing  like  as  healthy  as  the 
others.  .  .  .  But  it  won't  do  for  them  to 
meddle  in  your  choice.  ...  If  the  Great 
Peasant,  the  Great  Mendicant  and  the 
Great  Ancestor  are  there,  all  will  go  well: 
the  others  won't  dare  to  breathe  a  word; 
if  not,  they  will  try  to  force  their  choice 
upon  you  and  that  will  be  a  bad  thing  for 
you  and  for  the  future  of  the  entire  family. 
{Enter  from  the  old  farm-house  a  tall 
124 


or,  The  Blue  Bird  Chooses 

Peasant,  dressed  in  the  mediaeval 
style.  He  closes  the  door  care- 
fully and  steps  forward  whittling  a 
switch. ) 

Gaffer  Tyl 
Here  comes  the  Great  Peasant !     That's 
good,  that's  good  I 

Tyltyl 
That  long,  thin  fellow  ? 

Gaffer  Tyl 
He  certainly  isn't  fat;  but  he  has  great 
influence.     He  is  one  of  the  mainstays  of 
the  family. 

{Next  enter  from  the  villa  one  or  two 
Gallo-Romans  and  then,  from 
the  back  of  the  street,  among  other 
Men  of  the  Stone  Age,  an  exceed- 
ingly tall  old  Man,  dressed  in 
skins  and  leaning  on  a  heavy  club.) 
125 


The  Betrothal; 

Tyltyl 
Why,  we've  got  right  back  to  savages 
now  I 

Gaffer  Tyl 
That's  the  one  I 

Tyltyl 
Who? 

Gaffer  Tyl 
The  Great  Ancestor  I 

Tyltyl 
What?    The  one  like  an  ape,  with  the 
big  stick? 

Gaffer  Tyl 
You  must  be  quiet  I  .  .  .  Don't  treat 
him  with  disrespect!  .  .  .  It's  a  great  fa- 
vour that  he's  showing  you;  he  doesn't 
often  go  out.  ...  Of  all  our  race  he's  the 
126 


or,  The  Blue  Bird  Chooses 

most  important,  the  greatest,  the  most  re- 
spected. .  .  .  Everything's  shaping  well: 
it'll  probably  be  he,  the  Great  Peasant  and 
the  Great  Mendicant  who  will  put  their 
heads  together  and  choose  your  bride  for 
you. 

Tyltyl 

(Indignantly.)     But  I  won't  have  that  I" 
.  .  .  It  doesn't  concern  them  I  .  .  .  What 
do  they  know  about  it?  ...  A  peasant,  a 
savage  and  a  beggar:  what  next? 

Gaffer  Tyl 
Hold  your  tongue,  I  say  I  ...  I  tell 
you,  they  represent  all  that  is  best  in  you 
and  in  the  whole  family.  If  you  obey 
them,  if  you  submit  to  their  influence,  you 
will  be  happy  and  safe.  .  .  .  Mind  nowl 
They're  coming.  .  .  . 

(The  Ancestors  have  been  gradu- 
ally collecting  at  the  back  of  the 
137 


The  Betrothal; 

stage.  They  bow,  accost  one  an- 
other, shake  hands,  exchange  com- 
pliments. All  show  affectionate  re- 
spect to  THE  Great  Peasant,  the 
Great  Mendicant  and  especially 
the  Great  Ancestor,  gathering 
around  them  and  listening  deferen- 
tially to  what  they  say.  On  the 
other  hand,  THE  SiCK  Man,  the 
Drunkard  and  the  Murderer 
are  left  standing  apart,  forming 
a  pitiful  rear-guard.  The  group 
now  moves  towards  the  benches  in 
the  foreground,  where  Tyltyl  and 
his  companions  are  gathered.^ 

The  Great  Ancestor 
{Coming       forward.)      Good-evening, 
Tyltyl! 

Tyltyl 

Good-evening  ...  sir! 
128 


or,  The  Blue  Bird  Chooses 

The  Great  Ancestor 
Kiss  me  first.  Don't  be  afraid.  I  look 
rather  savage,  but  it  is  only  a  shape  which 
I  had  to  put  on  in  order  to  make  myself 
visible  to  you.  I  had  no  other  handy.  .  .  . 
But  I  am  really  quite  clean  and  I  don't 
smell  bad. 

Tyltyl 
I  never  said  you  did  I 

The  Great  Ancestor 
No,  but  to  judge  by  the  grimace  you 
made  you  weren't  quite  sure!  .  .  .  (iS/7- 
tinff  down  on  the  middle  bench.)  I  will  sit 
down  here ;  the  Great  Mendicant  will  take 
his  seat  on  my  right  and  the  Great  Peas- 
ant on  my  left.  They  don't  smell  either. 
.  .  .  (The  Great  Mendicant  and  the 
Great  Peasant  take  their  seats;  the  other 
Ancestors  stand  behind  him.)  And  I 
129 


The  Betrothal; 

will  take  you  on  my  knees.  ...  I  am  glad 
to  hold  you  in  my  arms  for  a  moment.  .  .  . 
We  have  known  each  other  so  long  I 

Tyltyl 

I  don't  remember  ever  seeing  you  be- 
fore. 

The  Great  Ancestor 

And  yet  we  have  always  lived  in  each 
other;  for  you  were  already  living  in  me 
when  I  was  on  earth ;  and  now  I  live  in  you 
while  you  are  still  on  that  same  earth, 
which  we  seem  to  have  quitted.  .  .  .  But 
what  do  you  think  of  this  place  of  ours? 
.  .  .  Let  me  have  the  pleasure  of  showing 
you  over  your  home. 

Tyltyl 

My  home  ? 

The  Great  Ancestor 
Certainly.  .  .  ,  You  are  at  home  here. 
130 


or,  The  Blue  Bird  Chooses 

.  .  .  And  a  very  nice  home  it  is.  .  .  . 
Everything  you  see — this  square,  that 
prison,  the  church,  those  houses,  we  who 
live  in  them  —  all  this  is  really  only  inside 
yourself.  .  .  .  People  rarely  see  it,  they 
don't  even  suspect  it;  but  it's  true. 

Tyltyl 

I  should  never  have  thought  there  was 
so  much  room  inside  myself  and  that  it  was 
so  large.  .  .  . 

The  Great  Ancestor 

It's  much  larger  really;  there's  a  great 
deal  that  you  don't  see.  .  .  .  But  that  is 
not  what  interests  us  to-day;  let  us  come 
straight  to  the  point,  to  the  great  question 
that  brings  you  here.  .  .  .  We  are  going 
to  choose  the  woman  whom  you  are  to 
love.  .  .  . 

131 


The  Betrothal; 

Tyltyl 

Since  you  are  so  kind,  there's  one  thing 
I  should  like  to  ask  you.  .  .  . 

The  Great  Ancestor 
Ask  me  any  questions  you  please. 

Tyltyl 
How  is  it  that  I  have  not,  like  other 
men,  the  right  to  choose   the  woman  I 
love? 

The  Great  Ancestor 
But  you  have  the  right  to  choose  and 
are  here  for  the  sole  purpose  of  making 
that  choice. 

Tyltyl 
No,  they  tell  me  that  it's  you  and  the 
others  who  will  make  it. 

The  Great  Ancestor 

But  I  and  the  others  are  all  you.  .  .  . 
133 


or,  The  Blue  Bird  Chooses 

You  are  we,  we  are  you;  and  It's  all  the 
same  thing. 

Tyltyl 
Not  for  me.  .  .  .  They  keep  on  telling 
me  to  hold  my  tongue,  that  it's  not  my 
business,  that  it's  no  concern  of  mine.  .  .  . 
Everybody's  allowed  to  get  a  word  in,  ex- 
cept me.  .  .  .  I've  had  enough,  I'm  sick 
and  tired  of  it!  .  .  .  Where  do  I  come  in? 
That's  what  I  want  to  know ! 

The  Great  Ancestc 
You're  simply  acting  as  all  men  act  when 
they  think  they  are  doing  what  they  want 
to  do. 

Tyltyl 

But,  after  all,  dash  it,  what  business  is 

it  of  yours?     I  can  understand,  in  a  way, 

that  the  children  I  may  one  day  have  should 

claim  some  right  to  select  their  mother; 

133 


The  Betrothal; 

but  the  rest  of  you,  over  here,  what  differ- 
ence can  it  make  to  you? 

The  Great  Ancestor 
Don't  you  see  that  it's  all  the  same? 
Those  who  have  lived  in  you  live  in  you 
just  as  much  as  those  who  are  going  to. 
There  is  no  difference,  it  all  connects  and 
it's  still  the  same  family. 

Tyltyl 
As  you  please,  but  I  can't  make  it  out. 
.  .  .  And,  if  I  refuse  to  obey,  if  I  love 
just  for  myself,  if  I  take  a  different  girl 
from  the  one  they  want  to  force  on 
me,  what  will  they  do  then?  What  will 
happen? 

The  Great  Ancestor 
Merely  this,  that  the  choice  you  will 
have  made  for  yourself,  without  our  ap- 
134 


or,  The  Blue  Bird  Chooses 

proval,  will  not  be  a  real  choice;  in  other 
words,  you  will  not  love  the  woman  whom 
you  thought  you  loved.  You  will  have 
made  a  mistake,  you  will  be  unhappy  and, 
at  the  same  time,  you  will  make  all  of  us 
unhappy,  those  who  came  before  you  as 
well  as  those  who  come  after. 

Tyltyl 
Does  that  often  happen? 

The  Great  Ancestor 
Very  often,  far  too  often:  that  is  why 
you  see  so  many  unhappy  people  on  earth. 

Tyltyl 
Well,  what  am  I  to  do  ? 

The  Great  Ancestor 
Where    are    your    little    friends?  .  .  . 
Would  you  mind  coming  a  little  nearer, 
135 


The  Betrothal; 

dear  ladies?  .  .  .  (Gazing  with  attention 
at  THE  Six  Girls,  who  come  forward  and 
stand  in  front  of  him.)  Well,  well,  you 
have  set  us  our  task,  but  you  have  made  it 
very  difficult :  how  is  one  to  select  when  all 
are  equally  beautiful? 

The  Great  Mendicant 
They  are  really  very  handsome. 

The  Great  Peasant 
And  they  appear  to  be  very  healthy,  very 
quiet  and  very  hard-working. 

The  Great  Ancestor 
Do  you  recognize  the  one  among  them 
for  whom  we  are  waiting? 

The  Great  Mendicant 

Not  yet. 

136 


or,  The  Blue  Bird  Chooses 

The  Great  Ancestor 
It's    strange,    neither    do   I.  .   .   .    {To 
the  Great  Peasant.)     And  you ? 

The  Great  Peasant 
I  can't  say  that  I  don't  and  I  can't  say 
that  I  do. 

The  Great  Ancestor 

It's  strange,  very  strange.     And  yet  we 

know  that  the  one  who  will  make  us  happy 

has  arrived  and  is  here  among  us.     We 

generally  recognize  her  at  the  first  glance. 

The  Great  Mendicant 
I  can't  understand  it. 

The  Rich  Ancestor 
{Standing  behind  the  bench,  pointing  to 
RosARELLE.)      Isn't    it    that    one?  .  .  . 
What's  your  name,  my  dear? 
137 


The  Betrothal; 

ROSARELLE 

Rosarelle. 

The  Rich  Ancestor 
Who  are  you  ? 

Rosarelle 
The  daughter  of  the  Mayor. 

The  Rich  Ancestor 
Are  you  rich? 

Rosarelle 
My  father  has  money,  I  believe. 

The  Rich  Ancestor 
You  see?     There  is  no  doubt  about  it. 

The  Sick  Ancestor 
{Pointing  to  AiMETTE.)      I  say  it's  that 
one. 

138 


or,  The  Blue  Bird  Chooses 

The  Drunke-n  Ancestor 
{Taking  hold  of  RosELLE.)     This  is 
the  one  I  want. 

The  Murderer  Ancestor 
{Leaping    over   the   bench   and   taking 
hold  of  Belline.)     And  I  take  this  one  I 

"  The  Great  Ancestor 
{Rising,  in  an  authoritative  tone,)  Be 
silent  .  .  .  and  withdraw!  .  .  .  {With 
an  imperious  gesture.)  Begone!  .  .  . 
You  know  that  you  have  lost  the  right  to 
raise  your  voice  in  my  presence !  .  .  . 

{The  four  dissentient  Ancestors, 
addressed  in  these  terms,  move 
away  crestfallen.) 

The  Other  Ancestors 
{Grouped  behind  the  bench,  clapping 
their  hands.)     Hear!     Hear!  .  .  .  Well 
139 


The  Betrothal; 

done!  .  .  .  It's  what  they  deserve!  .  .  . 
They  have  been  wrong  too  often! 
.  .  .  They  have  done  too  much  harm !  .  .  . 
They  would  be  the  ruin  of  the  fam- 
ily! .  .  . 

Jalline 
( Goittff  to  the  Great  Mendicant  and 
clasping  his  knees.)      Perhaps  I'm  the  one. 
...  I  love  him  so ! 

MiLETTE 

(Going  to  THE  Great  Peasant  and 
clasping  his  knees.)  If  you  want  to  know 
how  much  I  love  him,  look  at  me  and  see. 

Aimette 

(Going  to  the  Great  Ancestor  and 

clasping  his  knees. )      Can't  you  see  that  I 

have  loved  him  longer  than  the  others?     I 

have  loved  him  since  I  first  set  eyes  on  him. 

140 


or,  The  Blue  Bird  Chooses 

I  never  dared  say  so;  but  I  feel  that  1 
shall  die  if  you  choose  another. 

The  Great  Ancestor 

My  poor  children,  it  is  very  sad,  but 
my  hands  are  tied.  You  will  perhaps  cry 
for  a  few  hours;  but,  if  we  chose  one  of 
you,  she  would  spend  her  whole  life  cry- 
ing, for  I  do  not  see  among  you  the  one  for 
whom  we  are  waiting.  .  .  .  Tyltyl  I 

Tyltyl 
Yes? 

The  Great  Ancestor 

Have  you  brought  us  no  one  else,  be- 
sides those  we  see  here? 

Tyltyl 

No,  no  one  else. 

141 


The  Betrothal; 

The  Great  Mendicant 
I  see  a  tall  white  figure  over  there, 
against  a  tree ;  who  is  it  ? 

Tyltyl 
I  really  don't  know.     She  follows  us  all 
the  time,  squeezes  in  wherever  we  go,  no- 
body knows  her;  and  we  can't  get  rid  of 
her. 

The  Great  Ancestor 
Go  and  fetch  her. 

(Tyltyl  fetches  the  White  Phan- 
tom and  brings  her  back,  holding 
her  by  the  hand.) 

The  Great  Ancestor 
Who  are  you? 

Tyltyl 
It's  no  use  asking  her.     She  never  an- 
swers; she  can't  talk. 
143 


or,  The  Blue  Bird  Chooses 

The  Great  Ancestor 

{To  THE  Phantom.)  Come  nearer, 
child,  and  let  me  lift  the  veil  that  covers 
your  face.  .  .  .  {He  removes  the  veil. 
The  statue's  face  appears,  absolutely  white, 
featureless  and  devoid  of  human  expres- 
sion.) She  has  no  face.  ...  {To  the 
other  Ancestors  standing  around  them.) 
Do  you  know  her? 

The  Great  Peasant 
She  has  no  expression. 

The  Great  Mendicant 
She  has  no  features.  .  .  .  She  is  like  an 
unfinished  statue. 

The  Great  Ancestor 

What  are  we  to  do?     It  must  be  she. 

But  who  is  she?     She  is  not  dead,  or  we 

should  know  it.  .  .  .  Come,  Tyltyl,  make 

143 


The  Betrothal; 

an  effort,  for  everything  depends  on  you. 
You  must  remember.  .  .  . 

Tyltyl 
I  have  tried  my  utmost.  .  .  .  Do  what 
I  will,  I  can't  remember  at  all. 

The  Great  Ancestor 
Listen,  it  is  a  serious  matter.  If  we  do 
not  succeed  in  recognizing  her,  all  your 
life,  all  your  happiness  on  earth  will  be 
nothing  more  than  a  phantom  like  herself. 
.  .  .  There  is  one  last  resource,  one  last 
hope,  which  is  that  the  children  who  are  to 
be  born  of  you  may  discover  who  she  Is 
and  that  she  is  to  be  their  mother.  They 
see  much  farther  and  deeper  than  we. 
But  there  is  no  time  to  lose ;  for  this  wait- 
ing and  this  living  in  suspense  are  very  dan- 
gerous for  her.  We  must  be  quick  there- 
fore; we  must  not  waste  a  moment  .  .  . 
144 


or,  The  Blue  Bird  Chooses 

go,  my  little  Tyltyl.  You  have  been  very 
good  and  patient,  very  obedient  and  faith- 
ful to  your  race  throughout  this  ordeal. 
Take  this  kiss  and  farewell.  .  .  .  You  too, 
my  dears,  let  me  give  you  the  parting  kiss. 
Do  not  be  too  sad;  another  happiness 
awaits  you.  There  is  more  than  one  kind 
on  that  poor  misguided  earth  of  yours. 
You  have  deserved  every  happiness  that  it 
can  give.  .  .  .  Good-bye,  my  dear  daugh- 
ters; good-bye,  good-bye,  my  son.  And 
we  will  meet  again  whenever  you  wish :  you 
know  where  to  find  us  and  we  shall  be 
waiting  for  you.  .  .  . 

{The  Scene  grows  dark  and  disap- 
pears from  view;  the  Curtain  of 
Rocks  closes;  and  Tyltyl,  the 
Girls,  Light  and  Destiny  are 
once  more  alone  among  the  boul- 
ders.) 

145 


The  Betrothal 

Destiny 
(Seizing  Tyltyl's  hand.)  This  way, 
this  way!  .  .  .  Thanks  to  me,  it  went  off 
very  well!  ...  I  said  nothing  about  it; 
but  it  was  I  who  foresaw  everything  and 
planned  everything;  and  all  that  has  been 
done  was  ordained  by  me.  .  .  . 
(They  all  go  out.) 


Curtain 


146 


ACT  IV 


ACT  IV 

Scene  VIII 

Before  the  Curtain  representing  the  Milky 
fVay 

{Enter  Tyltyl  and  Light.) 

Tyltyl 
Where  are  we  ? 

Light 
Near  to  the  stars  and  yet  within  your- 
self. Before  you  is  the  great  veil  of  the 
Milky  Way.  Beyond  it  stretches  the  re- 
gion in  which  your  unborn  children  are 
waiting  to  show  you  the  mother  whom 
they  have  chosen. 

149 


The  Betrothal; 

Tyltyl 
It's  a  litLxC  like  the  Kingdom  of  the  Fu- 
ture in  "  The  Blue  Bird." 

Light 
Perhaps;  and  yet  not  quite  the  same 
thing.  There  it  was  the  whole  kingdom, 
with  everybody's  children;  here  it  is  only 
a  province,  in  which  are  no  children  but 
yours 

Tyltyl 
Have  I  many? 

Light 
As  many  children  as  you  have  ancestors, 
as  innumerable  and  no  less  infinite.  But, 
as  with  the  Ancestors,  we  shall  see  only 
those  who  are  nearest  to  you,  especially 
the  youngest  and  smallest. 

Tyltyl 

Why  the  smallest  ? 
150 


or,  The  Blue  Bird  Chooses 

Light 

Because  they  are  nearest  to  their  birth. 
As  this  approaches,  they  grow  smaller  and 
younger;  so  that  the  youngest,  who  are 
the  first  to  be  born,  can  hardly  walk  or 
stand. 

Tyltyl 

And  the  others?  Are  there  any  big 
ones  ? 

Light 

There  are  children  of  all  sizes,  but  I  do 
not  know  that  we  shall  see  the  biggest, 
that  is  to  say,  those  who  will  be  born  hun- 
dreds or  thousands  of  years  hence.  .  .  . 
There  will  not  have  been  time  to  tell  them ; 
they  do  not  keep  close  to  the  doors,  like 
the  very  little  ones,  but  wander  far  away 
waiting  for  their  time  to  come. 
151 


The  Betrothal; 

Tyltyl 
They  must  find  it  very  tiresome  to  be 
kept  waiting  like  that  I 

Light 
Nothing   is    ever   tiresome   in   infinity. 
Besides  they  have  to  learn  here  all  that 
they  will  forget  on  earth. 

Tyltyl 
It  seems  hardly  worth  while  then,  to  take 
so  much  trouble  I 

Light 
Oh,  but  it  is  I     Something  always  re- 
mains and  helps  to  build  up  the  deep  hap- 
piness of  life. 

Tyltyl 

Well,  so  much  the  better  for  them  I     As 

for  me,  I  shall  soon  know  what  I  am  to 

do.     I  hope  we  shall  get  through  to-day, 

162 


or,  The  Blue  Bird  Chooses 

because,  you  see,  I'd  like  to  have  things 
settled.  .  .  .  But  where  on  earth  can  they 
be,  those  girls  of  mine  and  Destiny? 
{Looking  below  him,  on  the  right.)  The 
poor  little  dears  are  up  to  their  knees  in 
the  snow.  This  place  is  even  higher  and 
more  difficult  to  get  at  than  where  the  An- 
cestors lived. 

Light 
{Looking  down.)  They  are  not  very 
far  away.  .  .  .  But  you  have  taken  off 
your  hat  again;  that's  a  bad  habit  of  yours. 
Put  it  on  quickly,  before  they  come,  and  be 
careful  to  make  no  mistake  this  time,  for, 
if  you  do,  the  result  may  be  very  unpleas- 
ant. 

(Tyltyl  puts  on  his  hat  and  turns 

the  sapphire.     Forthwith  from  the 

earth   and  from   every   side  little 

creatures  of  different  sizes  appear, 

153 


The  Betrothal; 

dressed  like  him  and  resembling 
him  in  nearly  every  respect.  They 
surround  him,  rush  against  him, 
hustle  him  and  try  to  drag  him, 
some  to  the  right,  others  to  the  left, 
while  he  struggles  in  the  midst  of 
them  without  knowing  to  which  he 
should  give  his  attention.) 

Tyltyl 
{Distraught.)      Hullo,  hullo,  what's  all 
this?     What  does  it  mean?     That  sap- 
phire really  is  becoming  impossible  I 

Light 
Don't  worry:  you'll  have  turned  it  the 
wrong  way  again.     What  did  you  do? 

Tyltyl 

How  can  I  tell  ?  .  .  .  This  is  getting  too 

much  for  me !     Too  mixed  up,  really.  .  .  . 

I  must  have  pressed  it  instead  of  turning  it. 

154 


or,  The  Blue  Bird  Chooses 

Light 
That's  what  I  thought.     You  have  sim- 
ply released  some  of  your  other  "  You's." 

Tyltyl 
{Dumbfounded.)     Some  of  my  other 
"Me's"? 

Light 
Yes,  what  I  mean  is  that  you  are  not 
alone  inside  yourself  and  that  .  .  . 

Tyltyl 
{More  and  more  dumbfounded. )      I  am 
not  alone  inside  myself?  ... 

Light 
Why,  no,  there  are  a  number  of  other 
personalities  there,  more  or  less  like  you 
and  all  the  time  trying  to  get  the  upper 
hand. 

Tyltyl 
No,  but  really,  what  else  is  there  inside 
155 


The  Betrothal; 

me?     I  must  be  a  sort  of  menagerie  or 
Noah's  ark !     There's  no  end  to  it ! 

Light 
That's  true :  there  would  be  no  end  if  we 
had  the  time  to  go  into  it  all.  .  .  .  But 
press  the  sapphire  down  now  and  all  will 
be  well. 

(Tyltyl  presses  the  sapphire  and  all 
his  Doubles  disappear.) 

Tyltyl 
My  word!  A  good  riddance  I  .  .  . 
Well,  as  you  say,  they  may  be  the  least  bit 
like  me,  but  some  of  them  are  very  ugly. 
Particularly  a  big  dark  one,  who  kept  on 
tripping  me  up  and  very  nearly  made  me 
fall. 

Light 
Of  course,  there  are  some  of  all  kinds, 
as    in    every   man.     One    must   learn    to 
156 


or,  The  Blue  Bird  Chooses 

choose  the  best  and  avoid  the  worst.  .  .  . 
But  here  come  your  httle  friends. 

{Enter  first  THE  White  Phantom.) 

Tyltyl 
(Amazed.)     Hullo!  .  .  .  What's    the 
matter  with  her?  .  .  .  She  seems  quite  in 
a  hurry  to-day  and  moves  like  an  angel. 

(Enter  next  MiLETTE,  Belline,  Ro- 
SELLE  and  Rosarelle,  followed 
by  AlMETTE  and  Jalline,  who  are 
supporting  Destiny  between  them. 
He  is  now  a  head  shorter  than 
Tyltyl,  wears  the  same  tragic  cos- 
tume as  before,  seems  very  weary 
and  sinks  down  on  a  heap  of 
snow.) 

Tyltyl 
(Going  to   him,  with  a  certain  solici- 
tude.)    Are  you  ill? 
157 


The  Betrothal; 

Destiny 
I?  Not  at  all:  I  am  always  the  same, 
I  am  unchangeable.  .  .  .  But  when  you 
alone  are  responsible  for  everything,  when 
you  have  to  manage  everything,  direct 
everything  and  foresee  everything  and 
when  nobody  helps  you  {casting  an  aggres- 
sive eye  on  Light),  you  are  entitled  to  a 
moment's  rest.  ...  I  therefore  order  a 
halt.  It  is  decided  irrevocably:  to-day  we 
go  no  farther. 

Light 
Admirable !  And  so  it  shall  be,  for  we 
have  arrived;  and  with  Destiny's  permis- 
sion, we  shall  find  ourselves,  without  ta- 
king another  step,  among  the  children  who 
are  awaiting  us.  .  .  . 

{The  curtain  parts  and  opens  upon 
the  next  scene.) 


158 


Scene  IX 

The  Abode  of  the  Children 

The  immense  halls,  the  lofty  vaults,  the 
infinite  perspectives  of  arches  and 
columns  of  the  Kingdom  of  the  Fu- 
ture in  "  The  Blue  Bird  " ;  but  this 
time,  it  being  the  nuptial  hour,  every- 
thing is  of  a  soft,  milky  white,  gleam- 
ing and  transparent.  The  radiant 
shapes  of  amber-coloured  light  bathe 
in  unspeakable  gladness  all  the  things 
that  they  touch;  and  everywhere  are 
signs  of  a  deep  and  unfaltering  joy. 
The  boundless  horizon  stretches  to- 
wards the  veiled  white  of  the  Milky 
JVay,  the  ether  quivering  with 
myriads  of  unknown  stars. 
159 


The  Betrothal; 

{ffhen  the  curtain  opens,  Tyltyl,  Light, 
Destiny  and  the  Six  Girls  are  in 
the  foreground,  on  the  right,  at  the 
foot  of  one  of  the  alabaster  columns 
supporting  the  entrance-arch.  They 
take  a  few  steps  into  the  immense 
deserted  hall,  while  the  White 
Phantom  hides  timidly  behind  the 
column.) 

Tyltyl 
{A   little  disappointed.)     There's  no- 
body here  I  .  .  . 

Light 
I  know  why  it  is.  There  are  several 
doors;  as  you  were  all  very  tired,  I  chose 
the  one  that  was  nearest.  They  are  prob- 
ably waiting  for  us  at  the  principal  en- 
trance. 

Tyltyl 
How  shall  we  let  them  know? 
160 


or,  The  Blue  Bird  Chooses 

Light 
The    atmosphere    will    do    that:    here 
everything  is  known  immediately  and  every 
event  happens  everywhere  at  the  same  mo- 
ment. 

Tyltyl 
It's  a  very  fine  place,  this :  splendid  large 
rooms  and  a  very  high  ceiling;  lots  of 
light  and  air  .  .  . 

Light 
And  it's  still  always  inside  yourself. 

Tyltyl 
What,  this  is  inside  me  too  ? 

Light 
Why,  yes;  of  course  it  is. 

Tyltyl 

Very    well,    then;     that's     all    right. 
161 


The  Betrothal; 

Please    step    in:    you're    very    welcome. 
Won't  you  sit  down  while  you  wait? 

Light 
We  shall  not  have  long  to  wait,  for  I 
believe  they  have  seen  us. 

(A  Child's  head  appears  for  an  in- 
stant between  two  columns  and  is 
then  briskly  withdrawn,  exclaiming, 
"  This  way  I  This  way  1  They're 
here  I  "  Soon  after,  seven  or  eight 
Children  of  about  twelve  years  of 
age,  in  short  white  tunics,  with  bare 
arms,  legs  and  feet,  run  up  from 
the  back  of  the  hall  and  stop  in 
front  of  the  visitors.  The  largest 
holds  out  his  hand  to  Tyltyl.) 

The  Child 

Good-evening,  grandpapa  I 
162 


or,  The  Blue  Bird  Chooses 

Tyltyl 
Grandpapa?  .  .  .  Who's      that?  .  .  . 
Where  is  he  ?  .  . 

The  Child 
{Bursting   into    laughter.)     Why,    it's 
you! 

Tyltyl 
(Dumbfounded.)     I?     Am  I  a  grand- 
papa already? 

The  Child 
Of  course  you  are,  eighty  times  over! 
.  .  .  We  are  the  first  to  arrive.  The 
others  are  on  their  way.  .  .  .{To  the  other 
Children.)  He  doesn't  seem  to  believe 
it  I 

Another  Child 

You  might  give  us  a  kiss. 
163 


The  Betrothal; 

Tyltyl 
(Kissing  them  all.)      I  will!     I  will  I 
...  But  how  do  I  come  to  be  a  grand- 
papa? 

The  Child 
Surely  it's  quite  simple :  you  will  be  our 
grandpapa  when  we  are  your  grandchild- 
ren. 

Tyltyl 
Obviously,    that's    clear.  ...  So    you 
exist  already? 

The  Child 
Naturally,  since  you  yourself  exist.  .  .  . 
I  say,  are  those  the  grandmammas  you're 
bringing  us  ? 

Tyltyl 
Yes;  it  seems  you're  to  pick  out  the  best 
one. 

164 


or,  The  Blue  Bird  Chooses 

Another  Child 

{Clapping  his  hands  and  dancing  for 

joy.)     Oh,    how   pretty    they    are!  .  .  . 

{Throwing  himself  into  Jalline's  arms.) 

I  take  this  one,  because  she  is  so  soft  I  .  .  . 

Another  Child 
{Throwing  his  arms  round  Aimette's 
neck.)     And  I  this  one,  because  she  is  so 
sad!  ... 

Another  Child 
{Kissing  Roselle.)     I  choose  this  one, 
because's  she's  always  laughing!  .  .  . 

Three  Other  Children 
{Each  taking  one  of  the  GiRLS,  kissing 
and  fondling  her  and  laughing  and  skip- 
ping with  delight.)  And  I  choose  this 
one,  because  she  smells  so  nice!  ...  I 
choose  this  one!  ...  I  choose  this 
one!  .  .  . 

165 


The  Betrothal; 

The  First  Child 
(Intervening.)  One  moment,  one  mo- 
ment, if  you  please.  .  .  .  This  has  no- 
thing to  do  with  us;  our  turn  will  come. 
You  know  that  only  the  smallest  have  the 
right  to  choose  who  is  to  be  their  mother. 
All  we  have  to  do  is  to  help  them  with  our 
advice  and  to  stop  them  if  they  make  mis- 
takes; but  that's  a  thing  which  has  never 
happened  yet.  They  were  quite  some  dis- 
tance away,  at  the  principal  gate,  but  they 
won't  be  long  now. 

Tyltyl 
Here  come  some  bigger  ones* 

(Enter  a  new  group  of  Children, 
apparently  about  fifteen  years  of 
age.  The  oldest  goes  to  Tyltyl 
and  shakes  hands  with  him.) 

The  Oldest  Child 
Good-evening,  great-grandfather  I  .  .  . 
166 


or,  The  Blue  Bird  Chooses 

Tyltyl 
Who's  that?     I?     I'm  a  great-grand- 
father now !  .  .  . 

The  Oldest  Child 

Of  course  you  are !  .  .  .  I  am  very  glad 
to  see  you  for  a  minute,  for  we  shall  most 
likely  not  have  the  pleasure  of  meeting  on 
earth.  .  .  .  Well,  I  understand  that  your 
visit  to  the  Ancestors  was  not  much  of  a 
success. 

Tyltyl 
Let's  rather  put  it  that  they  hadn't  quite 
made  up  their  minds.     But  how  is  it  that 
you  already  know  what  happened  there? 

The  Oldest  Child 

Why,  of  course  we  know  everything  that 

happens  inside  you;  we're  there  ourselves. 

Besides,  there's  very  little  that  separates 

167 


The  Betrothal; 

us  from  the  Ancestors :  our  interests  are  the 
same  and  our  paths  often  meet. 

The  First  Child 
Look  out!     Here  are  the  little  ones! 
...  I  see  five  coming.  .  .  .  There's  only 
one  missing,  the  littlest.  .  .  . 

{From  the  back  of  the  halls  come  five 
Little  Children  holding  one  an- 
other's hands.) 

Tyltyl 
Who  are  those  five  little  ones?    They 
are  very  sweet. 

The  First  Child 
Why,  they  are  your  children:  two  boys 
and  three  girls  I 

Tyltyl 

Mine  ?     Shall  I  have  five  children  ? 
168 


or,  The  Blue  Bird  Chooses 

The  First  Child 
Six,  you  will  have  six,  for  the  last  little 
one  isn't  here  yet.  ...  I  promise  you,  the 
world  can  do  with  them,  after  what  people 
have  been  up  to,  down  there  I  .  .  . 

Tyltyl 
But  I  shall  never  be  able  to  feed  them 
all!  .  .  . 

(The  Five  Little  Ones,  still  hold- 
ing hands,  have  stopped  in  front  of 
THE  Six  Girls  and  stand  looking 
at  them  solemnly,  without  speaking. 
By  degrees,  the  halls  have  become 
filled  with  a  host  of  other  Child- 
ren who  gather  round  the  Five 
Little  Ones  and  watch  them. 
The  silence  at  last  becomes  irksome 
and  Tyltyl  breaks  it.) 

169 


The  Betrothal; 

Tyltyl 

Well,  children,  aren't  you  going  to  kiss 
your  papa  ? 

The  Youngest  Child 
(Ordering!  him  with  a  serious  gesture  to 
be    silent.)     Mamma    first.  .  .  .  Where 
is  she  ? 

Tyltyl 
Why,  she  must  be  here;  she's  one  of 
those.     You  have  only  to  choose. 

The  Youngest  Child 
{To  the  one  beside  him.)     Do  you  see 
her? 

The  Other 
{Shaking  his  head  sadly.)     No. 

The  Three  Others 
{In  succession.)     No  more  do  I.  .  .  . 
No  more  do  I.  .  .  .  No  more  do  I.  .  .  s 
170 


or,  The  Blue  Bird  Chooses 

Jalline 
(Rushing  forward,  catching  hold  of  one 
of  the  Children  and  kissing  him.)  But 
that's  impossible  I  .  .  .  Here,  look  at  me? 
.  .  .  Don't  you  see  how  much  I'll  love 
you?  .  .  . 

The  Child 
Yes,  but  you're  not  the  one. 

ROSELLE 

(Taking  another  Child  on  her  knees.) 
And  me?  Won't  you  have  me  for  your 
mamma? 

The  Child 
No,  no,  it's  not  you. 

ROSARELLE 

(Catching   hold    of   another    Child.) 
And  me?     Don't  you  love  me?     You'll 
see  how  happy  we  shall  be  I  .  .  .  We  shall 
171 


The  Betrothal; 

have  a  lovely  house  full  of  toys  and  I  shall 
give  you  everything  you  want.  .  .  . 

The  Child 
{Vainly   trying   to   contain   its   tears.) 
No,  no !  .  .  . 

Belline 

(  Taking  THE  Youngest.  )  Look  here, 
you  seem  to  know  more  than  the  others. 
.  .  .  Don't  you  recognize  me?  .  .  .  Are 
you  fond  of  sweets?  .  .  . 

The  Youngest  Child 
{Struggling  until  she  lets  him  go  and 
crying   without   disguise. )     Let   me   go  I 
Let  me  go ! 

Tyltyl 
Here's  a  pretty  business !     He's  crying! 
.  .  .  And  the  other  one  as  well !  .  .  .  But 
172 


or,  The  Blue  Bird  Chooses 

what  do  they  want?  .  .  .  They're  very 
hard  to  please.  .  .  . 

(The  Youngest  Child  wipes  his 
eyes  and  takes  the  hand  of  the  next, 
who  does  the  same  by  his  neigh- 
hour,  until  they  all  hold  hands 
again.) 

The  Youngest  Child 
Come!  .  .  . 

(The  Five  Little  Children  move 
away,  with  staid  dignity,  and  go 
out  on  the  left.) 

Tyltyl 

What's  the  matter  with  them  ?     Where 
are  they  going? 

One  of  the  Big  Children 

They  are  going  to  the  other  door. 
173 


The  Betrothal; 

Another 
They  are  going  to  fetch  the  smallest  of 
them  all. 

Another 
The  smaller  they  are,  the  more  they 
know. 

The  First  Child 
But   where    is   he,    the    smallest    one? 
Haven't  you  seen  him  ? 

Another 
No,   no   one  has   seen  him   since   this 
morning.  .  .  -.  It's  strange,  for  he  is  al- 
ways with  his  little  sisters. 

Tyltyl 
(Looking  at  the  throng  of  Children 
filling  the  halls.)      How  many  there  are! 

One  of  the  Big  Children 
It's  only  one  part  of  the  family. 
174 


or,  The  Blue  Bird  Chooses 

A  Child 
{Which  has  been  following  the  progress 
of  THE  Five  Children  with  his  eyes.) 
They  are  stopping  at  the  third  door. 

Tyltyl 
Who? 

The  Child 
The  five  little  ones. 

Another  Child 
They  seem  to  be  looking  for  something. 

The  First  Child 
Let  us  go  and  see  what  they're  doing. 
They  know  what  they  know. 

Other  Children 
Yes,  yes,  let  us  all  go.  .  .  .  They  knoWi 
they  know  I 

{A  great  stir  in  the  crowd  of  Child- 
175 


The  Betrothal; 

REN.  They  all  run  in  the  same  di- 
rection and  go  out  on  the  left.  In 
a  moment  the  hall  is  emptied  of  all 
except  Tyltyl,  Light,  the  Six 
Girls  and  Destiny.) 

Tyltyl 
Let  us  go  after  them  too  I 

{He  goes  out,  followed  by  LiGHT 
and  the  Six  Girls,  with  Destiny 
bringing  up  the  rear.  The  only  oc- 
cupant of  the  stage  is  THE  White 
Phantom,  whom  everybody  has 
overlooked  and  who  has  never  left 
the  column  on  the  right  against 
which  she  has  been  leaning.  The 
stage  remains  empty  for  a  moment 
and  then,  from  the  back  of  the 
halls,  comes  a  Child  even  smaller 
than  the  youngest  of  the  Five  Lit- 
tle Ones.  He  walks  with  reso- 
176 


or,  The  Blue  Bird  Chooses 

lute  step;  on  reaching  the  columns 
in  the  foreground,  he  appears  to 
take  his  bearings,  turns  his  head  to 
right  and  left  and  then,  suddenly, 
goes  straight  to  the  White  Phan- 
tom, in  front  of  whom  he  stops 
and  takes  up  his  stand,  contempla- 
ting her  at  length,  gravely  and  si- 
lently, with  his  finger  in  his  mouth. 
At  last  he  puts  out  one  hand  and 
takes  the  Phantom  by  the  hem  of 
her  dress.) 

The  Smallest  of  Them  All 
Is  it  .  .  .  really  you  ? 

The  Phantom 
{Speaking  for  the  first  time  and  strug- 
gling to  find  her  voice,  which  seems  to  come 
from  far  away  and  to  stick  in  her  throat.) 
Yes. 

177 


The  Betrothal; 

The  Smallest  of  Them  All 
I  knew  it.     Come.  .  .  . 

The  Phantom 
Where  to? 

The  Smallest  of  Them  All 
Over  here.  .  .  .  I'm  going  to  tell  the 
ethers.  .  .  . 

The  Phantom 
Not  yet.  ...  I  can't  yet.  .  .  . 

The  Smallest  of  Them  All 
{Still  dragging  her  by  her  dress  towards 
a  marble  bench  which  stands  between  the 
columns  in  the  foreground.)  Come.  .  .  . 
{He  makes  her  sit  down,  settles  her  on 
the  bench,  caresses  her  and  kisses  her.) 
Come  .  .  .  it's  you.  ...  I  knew  it.  .  .  . 
I'm  kissing  you.  .  .  .  Don't  you  know  how 
to  kiss  yet?  (The  Phantom  shakes  her 
178 


or,  The  Blue  Bird  Chooses 

head.)  No?  .  .  .  Like  this.  .  .  .  FU 
teach  you.  .  .  .  {He  kisses  and  caresses 
her  slowly  and  deliberately.)  You're  no 
longer  cold? 

The  Phantom 

{Smiling  at  last.)     No. 

The  Smallest  of  Them  All 
{Still  kissing  her.)     You  see,  that's  bet- 
ter already. 

{Under  THE  Child's  kisses  and  ca- 
resses, THE  Statue  has  gradu- 
ally taken  life:  the  eyes  open,  the 
lips  flutter,  the  face  begins  to  coU 
our,  the  body  loses  its  terrible  stiff- 
ness, the  arms  become  supple  and 
circle  round  the  Child's  neck.) 

The  Smallest  of  Them  All 

(Nestling  against  her.)     You're  better, 
179 


The  Betrothal; 

aren't  you?  .*.  .  Not  sleepy  any  more? 
.  .  .  How  good  it  is,  being  together !  .  .  . 
They're  still  looking  for  you,  you  know. 
.  .  .  And  it's  I  who  found  you  I  ...  I 
knew,  I  knew.  .  .  . 

The  Phantom 
So  did  I,  so  did  I.  ...  I  was  wait- 
ing. .  .  . 

The  Smallest  of  Them  All       , 
It's  splendid,   isn't  it?  .  .  .    (Nestling 
more  closely.)     Oh,  such  fun  I  .  .  .  Do 
you  like  it  too  ? 

The  Phantom 
Yes.  .  .  .  Yes,  I  am  happy. 

The  Smallest  of  Them  All 

Why  aren't  you  laughing? 
180 


or,  The  Blue  Bird  Chooses 

The  Phantom 
Because  I  am  too  happy. 

The  Smallest  of  Them  All 
So  am  I,  so  am  1 1  .  .  .  Don't  look:  I'm 
going  to  cry  a  little,  but  it  doesn't  mean 
anything.  .  .  . 

The  Phantom 
{Beginning  to  return  his  kisses  and  ca- 
resses,)    I'm  going  to  cry  too. 

The  Smallest  of  Them  All 
{Intoxicated  with  rapture.)  You're 
kissing  me  I  .  .  .  Mummy!  .  .  .  Then  it's 
true,  then  it's  true,  it  is  you  I  .  .  .  Again, 
again!  .  .  .  No,  not  any  more:  I  can't 
bear  it!  .  .  .  Will  they  understand,  will 
they  be  able  to  understand? 

The  Phantom 

Call  them,  it  is  time. 
181 


The  Betrothal; 

The  Smallest  of  Them  All 
Don't  cover  your  face:  they  wouldn't 
see  it  and  they  wouldn't  believe  me.  .  .  . 
(Drawing  aside  the  veils.)  Oh,  mummy, 
how  lovely  you  are  I  .  .  .  {Her  hair 
spreads  all  over  her  shoulders.)  Oh, 
mummy,  your  hair !  .  .  .  What  lots  of  it  I 
.  .  .  There,  that's  much  better,  I  can  kiss 
you  better  so.  .  .  .  {Listening.)  Listen, 
they're  coming  back  I     They're  here  I 

(The  Five  Little  Ones  come  rush- 
ing headlong  into  the  hall.) 

The  Five  Little  Ones 
Where    is    she?  .  .  .  Where    is    she? 
»  .  .  Where  is  she?  .  .  . 

The  Smallest  of  Them  All 
{Standing  up  on  the  bench,  beside  his 
Mother,  showing  her  to  the  others  and 
dancing    with    delight.)     Here  I     Herel 

182 


or,  The  Blue  Bird  Chooses 

.  .  .  She's  here,  she's  here !  .  .  .  I  found 

her!  .  .  . 

(The  Mother  tries  to  rise  and  take 
them  in  her  arms,  but  they  do  not 
give  her  time.  They  fling  them- 
selves upon  her,  load  her  with 
kisses  and  caresses,  make  her  sit 
down  again  and  clamber  on  her 
knees,  swarming  and  scrambling 
over  her  and  all  speaking  to- 
gether. ) 

The  Five  Little  Ones 
It's  shel  .  .  .  It's  she!  .  .  .  It's 
mummy  I  .  .  .  Where  was  she?  .  .  . 
Did  you  know  her?  ...  I  should  think 
sol  I  should  think  sol  .  .  .  You  too? 
Yes,  I  too,  I  too  1  .  .  .  You're  taking  up 
all  the  room  I  .  .  .  You're  kissing  her  all 
the  time  I  .  .  .  It's  not  fair,  it's  my  turn  I 
,  .  .  She's  my  mummy  tool  .  .  .  We 
183 


The  Betrothal; 

looked  for  you  so  hard !  .  .  .  We  waited 
for  you  so  long!  .  .  .  She  is  lovely,  isn't 
she?  .  .  .  She's  the  loveliest  of  them  alll 
.  .  .  There's  no  one  like  her!  .  .  .  Tell 
us,  tell  us !  .  .  .  What  ?  .  .  .  I  love  you ! 
Do  you  love  me?  .  .  .  Kiss,  kiss,  kiss, 
kiss!  .  .  .  What  sweet  things  mummies 
are!  .  .  .  How  delicious  it  is  to  kiss! 
.  .  .  To  think  one  didn't  know !  .  .  .  All 
for  us,  all  for  us !  .  .  .  The  only  happi- 
ness !  .  .  .  You're  everything  in  the  world 
to  us,  we're  everything  in  the  world  to  you ! 
.  .  .  I  dote  on  you!  ...  I  say,  do  you 
know  me?  I  shall  be  the  second.  .  .  . 
And  I  the  third.  .  .  .  And  I  the  last !  .  .  . 
Kiss  me  first,  I  shall  have  the  longest  to 
wait!  .  .  .  She's  laughing!  .  .  .  She's 
happy  too !  .  .  .  Answer  u§,  speak  to  us  1 
.  .  .  Your  arm,  I  want  to  feel  your  arm 
round  my  neck !  .  .  .  Mine  too,  mine  too  I 
.  .  .  Don't  go  away,  whatever  you  del 
184 


or,  The  Blue  Bird  Chooses 

.  .  .  We  don't  know  where  we  are,  we're 
mad  with  dehght!  ,  .  .  We  can't  wait  any 
longer!  .  .  . 

{While  they  are  thus  kissing  and  talk- 
ing,  the  other,  BiGGER  Children, 
those  of  the  future  generations, 
gradually  return  and  fill  the  halls 
again.  The  first  arrivals  stop  be- 
hind the  group  formed  by  the 
Mother  and  the  Six  Little 
Ones  ;  and  whispers  are  heard  and 
rise  from  the  growing  crowd: 
"  They've  found  her  I  .  .  .  They've 
found  her !  .  .  .  It's  she !  .  .  .  How 
happy  they  are !  .  .  ,  How  beauti- 
ful she  is!  .  .  .  How  kind  she 
looks!  .  .  .  Can  we  kiss  her? 
.  .  .  Wait,  wait,  it's  their  turn 
now !  .  .  .  Ours  will  come !  .  .  ." 
Tyltyl,  followed  by  Light,  the 
Six  Girls  and  Destiny,  now  enters 
185 


The  Betrothal; 

the  hall.  The  Children  fall  back 
to  let  him  pass.  The  Smallest 
OF  Them  All  sees  him  first,  goes 
to  him  and,  taking  him  by  the  hand, 
leads  him  to  the  Mother.) 

The  Smallest  of  Them  All 
{Gravely.)     It   is    she.  ...  I    found 
her.  .  .  . 

(The  Mother  rises  and  stands  in 
front  of  Tyltyl.) 

Another  Little  One 
Do  you  recognize  her? 

(Tyltyl  hesitates,  passes  his  hand 
over  his  forehead,  vainly  searches 
his  memory.) 

Tyltyl 

Not  yet.  .  .  .  She's  beautiful  I 
186 


or,  The  Blue  Bird  Chooses 

Another  Little  One 
Kiss  her;  it's  she. 

Another  Little  One 
There  is  no  other. 

The  Smallest  of  Them  All 
We  want  no  other. 

Tyltyl 
( Taking  THE  Mother's  hand.)  Where 
do  you  come  from?  .  .  .  Who  are  you? 
.  .  .  Where  have  I  seen  you  before  ?  .  .  . 
I  can't  remember.  .  .  . 

(The  Mother  does  not  reply.  Her 
colour  comes  and  goes,  her  eyes 
open  and  shut,  her  life  fluctuates 
with  the  ebb  and  flow  of  the  me- 
mory which  she  strives  to  awaken.) 

The  Smallest  of  Them  All 

Take  care!     You're  hurting  her! 
187 


The  Betrothal; 

(The  Other  Little  Ones  form  a 
line  in  front  of  her  as  though  to 
defend  her. ) 

A  Little  One 
Go  away  I 

Another  Little  0.ne 
Go  away!     You  sha'n't  have  her  until 
you  know  her ! 

Another  Little  One 
You  sha'n't  have  any  other! 

Another  Little  One 
Go  away!     She  shall  stay  with  us  till 
you  know ! 

Another  Little  0.ne 
Go  away !     We'll  wait  for  you ;  we  shall 
all  be  down  there ! 

188 


or,  The  Blue  Bird  Chooses 

The  First  Little  One 
Go  away,  go  away  I  .  .  .  You're  hurt- 
ing her  dreadfully ! 

The  Smallest  of  Them  All 
{Embracing     his     Mother.)     Come, 
mummy,    come!  .  .  .  He    doesn't    know 
yet!  .  .  . 

{They  all  gather  and  press  closely 
round  their  Mother,  hurrying  and 
dragging  her  along  and  waving 
good-bye  to  Tyltyl:  "See  you 
soon !  See  you  soon  again !  .  .  . 
Down  there,  down  there !  .  .  .  See 
you  soon!"  .  .  .  The  Mother 
turns  and  gazes  fixedly  at  Tyltyl  ; 
then  the  outlines  of  the  hall  darken, 
lose  their  colour  and  distinctness, 
dissolve  and  disappear.  Only 
Tyltyl,  Light,  Destiny  and  the 
Six  Girls  remain  in  front  of  the 
189 


The  Betrothal 

Curtain    representing    the    Milky 

Way.) 

t 

Tyltyl 
Well,  I'm  in  a  nice  mess!  .  .  .  What 
am  I  to  do?  .  .  .  Is  it  my  fault  if  I  can't 
remember?  .  .  . 

Light 
Don't  be  afraid.  They  know  what  they 
are  saying.  You  will  find  her  again.  .  .  . 
Let  us  go,  quickly!  ...  I  am  sure  that 
she  is  waiting  for  you  where  you  least 
expect  her. 

Tyltyl 
{Dreamily.)     She  really  is  beautiful  I 
...  I  believe  they  are  right.  ...  I  be- 
lieve it's  really  she.  .  .  . 
{They  all  go  out.) 

,    Curtain 

190 


ACT  V 


ACT  V 

Scene  X 

Before  the  Curtain  representing  the  Edge 
of  a  Forest 

{Enter  Tyltyl  and  Light.) 

Light 
Here  we  are  at  last. 

Tyltyl 
Where? 

Light 
Why,  near  your  home !  .  .  .  Don't  you 
recognize  your  forest? 

Tyltyl 
My  forest,  my  forest?  .  .  .    {Looking 
193 


The  Betrolhal; 

around  him.)     Why,  so  It  is!  .  .  .  I've 
seen  those  beeches  before,  somewhere. 

Light 
That's  more  than  likely,  as  they're  close 
to  the  house  in  which  you  were  born. 

Tyltyl 
Well,  it's  about  time  I  did  get  home.     I 
am  tired  out. 

Light 
It  has  been  a  fatiguing  journey,  but  not 
without  results. 

Tyltyl 
Results?  .  .  .  Where?  .  .  .  When  we 
started  I  was  in  love  with  six  girls;  now 
we've  returned,  I  love  only  one;  and  she's 
just  the  one  who  hasn't  come  back  with  me. 
.  .  .  But  where  are  those  six  others  and 
what  are  they  doing?  And  Destiny  too? 
He  was  looking  very  ill.  .  .  . 
194 


or,  The  Blue  Bird  Chooses 

Light 
Here  they  are. 

{Enter  the  Six  Girls.  The  last, 
Jalline,  carries  Destiny,  who 
still  wears  his  cloak  and  sombrero, 
but  who  has  shrunk  to  the  dimen- 
sions of  quite  a  small  child  and  ap- 
pears very  tired. ) 

Jalline 
{Passing  Destiny  to  Milette.  )     Will 
you  take  him  for  a  moment?     He's  not 
very  big,  but  dreadfully  heavy. 

Milette 
{Taking  him  from  Jalline's  arms.) 
Come  to  me,  my  little  Tiny,  come;  there, 
don't  cry.  .  .  . 

Destiny 

{In  a  whining  baby  voice.)      Me?     I 
never  cwyl  .  .  .  I'm  alwayth  the  thamel 
195 


The  Betrothal; 

.  .  .  I'm  unthakable,  immovable,  indefa- 
tigable, implacable  and  inegthowable  I  .  .  . 

MiLETTE 

Yes,  yes.  Tiny,  we  know,  you're  a  very 
good  little  boy.  .  .  .  (Destiny  falls 
asleep  in  her  arms.)     He's  gone  to  sleep! 

Jalline 
{Wrapping   him   in   his   cape,   with   a 
motherly  gesture.)     He's  a  dear,  sweet, 
obedient  little  thing,  but  seems  very  tired. 

Light 
Poor  little  Destiny  I  ...  He  has  no 
luck  I  .  .  .  But  we  will  see  to  him  later. 
.  .  .  What  we  have  to  do  now,  my  child- 
ren. Is  to  bid  one  another  good-bye  .  .  . 
and  for  the  last  time.  .  .  . 

Tyltyl 

For  the  last  time !  .  .  . 
196 


or,  The  Blue  Bird  Chooses 


Light 
Why,  yes;  we  can't  spend  our  whole  life 
travelling!  Besides,  you  are  near  your 
homes,  since  you  all  of  you  dwell  round  the 
forest.  We  have  learned  what  we  sought 
and  we  know  what  we  wanted  to  know, 
that  man  is  granted  only  one  love,  while 
the  others  are  merely  unfortunate  errors 
that  bring  sorrow  to  innumerable  lives. 
.  .  .  You  were  all  of  you  about  to  choose 
wrongly;  and  you  may  rejoice,  therefore, 
even  now,  when  we  have  to  part,  that  the 
mistake  was  discovered  before  it  was  too 
late.  .  .  .  And,  more  than  this,  the  Fairy 
has  charged  me  with  glad  tidings  for  you 
all:  the  one  love  you  have  each  of  you 
sought  is  waiting  for  you  by  your  own  fire- 
side, in  your  own  home,  or  at  least  will 
be  there  very  soon.  ...  So  do  not  linger, 
but  hasten  to  meet  it.  .  .  .  The  hour 
grows  late;  soon  the  cocks  will  be  crowing; 
197 


The  Betrothal; 

the  birds  are  beginning  to  wake.  Let  us 
bid  one  another  good-bye,  quickly,  without 
regret,  without  sad  thoughts  or  tears.  .  .  . 

MiLETTE 

{Handing  Destiny  to  Aimette.) 
Just  take  him  for  a  minute,  while  I  kiss 
Tyltyl.  .  .  .  {Kissing  Tyltyl.)  Good- 
bye, Tyltyl  dear.  I  must  go  first.  Dad 
gets  up  early  and  there  would  be  awful 
trouble  if  he  didn't  find  me  in  the  house. 
Good-bye.  Let  me  kiss  you  again.  .  .  . 
Be  nice  to  me  when  we  meet :  we're  neigh- 
bours and  shall  have  to  spend  all  our  lives 
in  this  forest. 

Tyltyl 
{Kissing  her  affectionately.)     Be  nice  to 
you,  Milette?     Of  course  I  will!     It's  not 
your  fault  or  mine :  we  both  know  that. 
198 


or,  The  Blue  Bird  Chooses 

MiLETTE 

Good-bye,  good-bye  I  ...  I  must 
fly!  .  .  . 

(She  runs  out.) 

AlMETTE 

{Handing  Destiny  to  Jalline.) 
Take  hold  of  the  little  man  for  a  second, 
will  you?  {Kissing  Tyltyl.)  Good- 
bye, Tyltyl.  .  .  .  Don't  let  us  forget  each 
other.  ...  I  shall  perhaps  love  somebody 
else ;  but  I  shall  never  love  him  as  I  loved 
you. 

Light 

Come,  come,  you  are  wasting  time.  .  .  . 
We  shall  never  have  done  if  we  go  on  like 
this.  ...  If  the  cock  crows  before  you 
return,  your  parents  will  know  everything; 
and  then  they'll  be  angry.  .  .  .  Just  give 
him  a  sisterly  kiss:  that's  all  that's  neces- 
sary. .  .  .  You're  not  going  far;  and 
199 


The  Betrothal; 

you'll  meet  again  many  a  time,  in  real  life, 
ami  will  like  each  other  the  better  because 
o^  your  truer  knowledge.  .  .  . 

(RosARELLE  and  Belline  kiss  Tyl- 
TYL  without  speaking  and  go  out. 
RosELLE  blows  her  nose  vigor- 
ously, dabs  at  her  eyes  and  stam- 
mers,  "  My  dear  Tyltyl  1  My 
dear  Tyltyl!  .  .  .  He  was  so 
nice!  ...  I  shall  see  you  again, 
sha'n't  I,  I  shall  see  you  again? 
.  .  .  You  shall  have  the  best  of 
everything  at  the  inn  1  "  Then  she 
rushes  out.  Jalline  alone  lingers 
behind,  holding  Destiny  in  her 
arms.) 

Light 
Well,    Jalline,    what    are    you    doing 
here? 

200 


or,  The  Blue  Bird  Chooses 

Jalline 
I  can't  go  away  at  once,  just  like  the 
others!  .  .  . 

Light 
But  you  must,  dear  Jalline.  Not  be- 
cause it  is  fate,  as  men  say,  but  because  it 
is  the  will  of  those  who  know  everything 
and  who  never  die.  .  .  .  Good-bye,  my 
little  Jalline.  You  have  been  very  sweet, 
very  loving,  very  exquisite;  and  I  thought 
that  you  would  be  chosen.  .  .  .  Don't  cry, 
dear.  Hand  over  poor  little  Destiny  to 
me,  I  will  take  care  of  him ;  and  give  Tyl- 
tyl  a  long,  long  kiss.  .  .  . 

Jalline 
{Hands  Destiny  to  Light  and  gives 
Tyltyl  a  long  kiss.)     Good-bye,  Tyltyl. 

Tyltyl 
Good-bye,  Jalline  1 
201 


The  Betrothal; 

(Jalline  moves  away  with  slow  re- 
luctant steps.) 

Light 
And,  now  that  we  are  alone,  let  me  kiss 
you  too.  .  .  .  We  shall  meet  once  again 
to  take  another  and  a  longer  journey.  .  .  . 

Tyltyl 
Another  journey?     And  a  longer  one? 

Light 
The  last,  the  happiest  and  the  most  beau- 
tiful. But  I  am  not  allowed  to  speak  of  it 
yet.  .  .  .  Good-bye,  Tyltyl.  Remember, 
dear,  that  you  are  not  alone  in  this  world 
and  that  all  that  you  see  in  it  has  neither 
beginning  nor  end.  With  this  thought  in 
your  heart,  letting  it  grow  with  your 
growth,  yoii  will  always  know,  whatever 
may  happen,  the  right  thing  to  say,  the 
202 


or,  The  Blue  Bird  Chooses 

right  thing  to  hope  for.  .  .  .  And  you, 
Tiny,  don't  cry  Hke  that!  Some  day  we 
shall  begin  to  understand  each  other. 

Destiny 
{Half -asleep,  tearfully,  lisping.)     Me? 
I  never  cwy !  .  .  .  I  order  a  thtop  I  .  .  . 
Forward  I     Forward!     Forward! 

(Light  goes  out  on  the  left,  carrying 
Destiny  in  her  arms.  Tyltyl 
follows  her  a  little  way,  waving  his 
hand  in  farewell;  and  the  Curtain 
opens  on  the  last  scene.) 


203 


Scene  XI 
The  Awakening 

The  same  scene  as  in  Act  I.  Tyltyl  is 
sound  asleep.  The  light  trickles 
gaily  through  all  the  crannies  of  the 
closed  shutters.  The  Blue  Bird  is 
singing  madly  in  his  cage. 

{A  knock  at  the  door.) 

Tyltyl 

{Waking  with  a  start.)     Who's  there? 

Mummy  Tyl 
{Behind    the    door.)      It's    me!  .  .  . 
Open  the  door  quickly!  .  .  .  We're  ex- 
pecting a  visitor.  .  .  . 

Tyltyl 
Wait,  wait,  till  I  slip  on  my  breeches. 
204 


or,  The  Blue  Bird  Chooses 

.  .  .  {Rising  and  seeing  with  amazement 
that  he  is  dressed.)  Hullo,  I've  gone  to 
bed  with  my  clothes  on  I  How  did  I  come 
to  do  that?  .  .  . 

(He  opens  the  door.    Enter  Mummy 

Tyl  fussily,  carrying  a  bundle  of 

sticks.) 

Mummy  Tyl 
Quick,  quick!  .  .  .  Help  me  light  the 
fire  and  tidy  the  room.  .  .  .  Go  and  wake 
up    Mytyl.  .  .  .  They'll    be    here    in    a 
minute. 

Tyltyl 
(Doing  his  best  to  help  her.)     Who*s 
"they"? 

Mummy  Tyl 

Of  course,  you  don't  know.     Daddy  Tyl 

met  them  yesterday,  but  you  had  gone  to 

bed.  .  .  .  Do  open  the  shutters,  I  can't 

see  what  I'm  doing.  .  .  .   (Tyltyl  opens 

205 


The  Betrothal; 

the  shutters  and  the  daylight  floods  the 
room.)  And  call  Mytyl,  so  that  she  can 
help  me  to  get  things  straight.  .  .  .  What 
a  mess  I  .  .  .  And  the  dust!  I  can't  let 
them  see  my  house  like  this.  (Enter 
Mytyl.  ) 

Tyltyl 
Hullo,  there  Mytyl  isl  .  .  .  But  you 
haven't  told  me.  .  .  . 

Mummy  Tyl 
( To  Mytyl.  )     The  fire's  beginning  to 
burn  up.  .  .  .  You  make  the  coffee,  while 
I  start  cleaning.  .  .  .  What's  this  ?   More 
cabbage  leaves  under  the  tap  I 

Mytyl 
It's    not    my    fault.     Tyltyl   promised 
me  .  .  . 

Mummy  Tyl 
Well,  I  never !     A  nice  thing  I  .  .  .  It's 
206 


or,  The  Blue  Bird  Chooses 

a  blessing  that  I  came  to  look  for  myself  I 
.  .  .  Take  the  broom,  Tyltyl,  while  I  give 
a  rub  to  the  plates  and  put  them  away. 

Tyltyl 

But  look  here :  who's  coming?     Is  It  the 
Shah  of  Persia  or  the  Emperor  of  China  ? 

Mummy  Tyl 
Much  better  than  that.     You'll  never 
guess.  .  .  .  Do  you  remember  our  neigh- 
bour? 

Mytyl 

What  neighbour? 

Mummy  Tyl 
There  aren't  so  many  of  'em.  .  .  .  The 
one  with  the  pretty  little  pink  house,  by  the 
road-side,  and  a  garden  full  of  sunflowers 
and  hollyhocks. 

207 


The  Betrothal; 

Tyltyl 
Of  course  I  .  .  .  And  they  had  a  little 
girl  to  whom  I  gave  my  dove  ? 

Mummy  Tyl 
That's  right.  / 

Tyltyl 
They've  been  gone  a  long  time. 

Mummy  Tyl 
Five  or  six  years,  that's  all.  They  went 
to  the  town  to  live  with  the  girl's  uncle. 
He  was  a  widower,  with  no  children  of  his 
own,  and  has  died  and  left  them  all  his 
money.  They  told  Daddy  Tyl  they're 
coming  back  here  for  good,  going  into 
their  nice  little  house  again.  It  belonged 
to  little  Joy's  uncle. 

Tyltyl 
Little  Joy? 

208 


or,  The  Blue  Bird  Chooses 

Mummy  Tyl 
Yes,  yes,  you  know :  that's  the  Httle  girl's 
name.  They  used  to  call  her  Jojo  when 
she  was  small;  but  her  name  is  Joy. 
Daddy  Tyl  met  her  last  night,  says  that  he 
could  hardly  believe  his  eyes,  that  she's 
taller  than  you  and  beautiful  .  .  .  well, 
there!  With  hair  like  gold,  real  gold! 
That's  worth  thinking  about.  ...  So  I 
want  the  house  tidy  and  all  of  us  to  look 
decent  and  respectable.  .  .  .  You  can 
never  tell  what  may  happen.  We're  of 
good  stock  too.  Your  grandfather's  fa- 
ther was  a  pork-butcher. 

Tyltyl 
It's  curious,  I  didn't  meet  him. 

Mummy  Tyl' 

Whom? 

209 


The  Betrothal; 

Tyltyl 
My  grandfather's  father. 

Mummy  Tyl 
That's  not  to  be  wondered  at :  he's  been 
dead  these  fifty-seven  years. 

Tyltyl 
{Sweeping  the  floor  lustily.)      Perhaps 
I  had  better  put  on  my  Sunday  clothes  ? 

Mummy  Tyl 
No,  you  needn't;  you're  all  right  as  you 
are.  We'll  just  lay  the  white  tablecloth. 
.  .  .  Besides,  there's  no  time  now;  here 
they  come ;  I  can  hear  them  walking  up  the 
path. 

{A  knock  at  the  door.     Mummy  Tyl 
opens  it.     Enter  THE  Neighbour 
and  Joy,  followed  by  Daddy  Tyl, 
with  his  axe  on  his  shoulder.) 
210 


or,  The  Blue  Bird  Chooses 

Daddy  Tyl 
{Calling     out    from     the    threshold.) 
Here  they  are !     Here  they  are ! 

The  Neighbour 
Yes,  it's  Joy  and  I,  Madame  Tyl.  .  .  . 
Good-morning,  a  Merry  Christmas  and 
good  luck  to  everybody,  as  my  poor  hus- 
band used  to  say  when  he  was  alive.  I'm 
glad  to  see  you  looking  so  well.  .  .  . 
And  these  are  the  children?  Don't  tell 
me  that  this  great,  big,  pretty  girl  is  Mytyl  ? 
And  can  that  be  Tyltyl,  that  strapping 
young  fellow  who  looks  so  smart? 

Mummy  Tyl 
Yes,  yes,  Madame  Berlingot,  they're  the 
sort  that  keep  on  shooting  up  till  you  don't 
know  where  you  are.  Tyltyl  hasn't  grown 
as  much  as  his  sister;  but  he's  stronger. 
There's  not  a  sturdier  lad  In  all  the  coun- 
211 


The  Betrothal; 

try-side.  .  .  .  But  it's  your  young  lady 
who's  beautiful!  ...  She  looks  the  very 
picture  of  the  blessed  saints!  .  .  .  {Ob- 
serving Tyltyl,  who  stands  wide-eyed 
and  entranced.)  Now  then,  Tyltyl, 
where  are  your  manners?  Don't  you 
know  your  little  playmate?  Be  civil,  say 
how-do-you-do,  shake  hands  and  give  her 

a  chair. 

Daddy  Tyl 

Before  you  sit  down,  would  you  like  to 

see  the  cows  ? 

The  Neighbour 
What,  do  you  keep  cows  now? 

Daddy  Tyl 

Why,   yes;   we've   not   done   so   badly 

either.  .  .  .  Two  little  cows  and  a  calf. 

.  .  .  Little  cows  are  better  than  big  ones; 

and  they  only  eat  half  as  much.  .  .  .  One 

212 


or,  The  Blue  Bird  Chooses 

of  them,  the  red  one,  gives  us  twenty  quarts 
of  milk  every  day. 

The  Neighbour 
Then  you've  put  up  a  cow-house  ?     You 
hadn't  one  before. 

Daddy  Tyl 

Yes,  I  ran  it  up  myself,  with  Tyltyl  to 

help.  .   .   .    {Leading  her  towards  the  door 

on  the  left.)     It's  this  way:  we  made  a 

good  job  of  it  and  it's  quite  worth  seeing. 

The  Neighbour 
Dear  me,  yes;  I'd  like  to  see  it  at  once. 
( They  all  go  out,  except  Tyltyl  and 
Joy,  who  remain  standing  face  to 
face.  As  soon  as  they  are  gone, 
Tyltyl  goes  up  to  Joy  atid  takes 
her  hand.) 

Tyltyl 

Is  It  .  .  .  really  you? 
213 


The  Betrothal; 

Joy 

Yes,  it's  I. 

Tyltyl 
I  knew  you  at  once. 

Joy 

And  I  you. 

Tyltyl 
You  are  even  more  beautiful  than  up 
^ere. 

Joy 
You  too. 

Tyltyl 
I  say,  it's  funny  that  I  couldn't  remem- 
ber. .  .  . 

Joy 
I  hadn't  forgotten. 

Tyltyl 
Oh,  how  lovely  you  are  I  .  .  .  Let  me 
kiss  you. 

214 


or,  The  Blue  Bird  Chooses 

Joy 

You  may  if  you  like. 

( They  kiss  each  other  awkwardly,  but 
afectionately.) 

Tyltyl 

They  haven't  a  suspicion. 

Joy 

You  think  that? 

Tyltyl 
I'm  sure  of  it.     They  don't  know  what 
we  know.     But  the  little  ones  knew. 

Joy 
What  little  ones? 

Tyltyl 
The   little    ones   up   there.  .  .  .  They 
were  very  clever.     They  knew  you  at  once. 
.  .  .  Were  you  so  very  unhappy? 
215 


The  Betrothal; 

Joy 

Why? 

Tyltyl 
Because  I  couldn't  remember. 

Joy 
It  wasn't  your  fault. 

Tyltyl 
I  know,  but  I  hated  it.  .  .  .  And  you 
were  so  pale,  so  dreadfully  pale;  and  you 
never    spoke.  .  .  .  How    long    had    you 
loved  me  ? 

Joy 

Ever  since  I  first  saw  you,  when  you 
gave  me  the  Blue  Bird. 

Tyltyl 
So  have  I,  so  have  I,  but  I  had  forgot- 
ten. .  .  .  Never  mind :  we're  going  to  be 
216 


or,  The  Blue  Bird  Chooses 

tremendously  happy,  for  they've  settled  it, 
you  see ;  they  want  it. 

Joy 
Do  you  think  they've  done  it  on  pur- 
pose? 

Tyltyl 

I'm  quite  sure ;  there  isn't  a  doubt.  .  .  . 
Everybody  wanted  it,  but  especially  the 
little  ones,  all  six  of  them. 

Joy 
Oh  I 

Tyltyl 
Yes  I  .  .  .  We're   going  to   have   six  I 
...  I  say,  do  you  believe  it  ? 

Joy 
Six  what? 

Tyltyl 

Why,  six  children,  of  course  I 
217 


The  Betrothal; 

Joy 

Oh,  Tyltyll 

Tyltyl 

I  know  It's  a  great  many ;  but  we'll  man- 
age somehow.  There's  nothing  to  be 
afraid  of.  .  .  .  What  a  dream,  eh? 

Joy 

Yes. 

Tyltyl 
The  loveHest  I  ever  had ;  and  you  ? 

Joy 
Yes. 

Tyltyl 
I  saw  you  as  you  are  now,  just  like  that. 
But  here,  all  the  same,  you  are  more  real 
and  more  beautiful.  .  .  .  Oh,  I  must  kiss 
you  again  I 

(They    kiss   each   other   lingeringly. 
At  that  moment  Daddy  Tyl  opens 
218 


or,  The  Blue  Bird  Chooses 

the  door,  with  the  others  behind 
him.) 

Daddy  Tyl 
{Catching  them  in  the  act.)     Well,  I 
never  1  .  .  .  You're  getting  on,  you  two  I 
.  .  .  You're  losing  no  time  I 

The  Neighbour 
{Entering  with  Mummy  Tyl  and  My- 
TYL.)     What's  the  matter? 

Daddy  Tyl 
What  did  I  say,  when  we  were  looking 
at  the  rabbits?     These  two  are  made  for 
each  other.  .  .  .  They  were  kissing  away 
like  anything! 

The  Neighbour 
Joy  I     Aren't  you  ashamed? 

Joy 

But,  mummy  ... 
219 


The  Betrothal; 

Daddy  Tyl 
Come,  come,  there's  no  great  harm  in  it. 
We  did  as  much,  Mummy  Tyl  and  I,  when 
we  were  young,  didn't  we,  old  lady? 

Mummy  Tyl 
We  did  indeed!  .  .  .  They  make  such 
a  pretty  pair!  .  .  . 

The  Neighbour 
That  they  do ;  but  Joy  is  still  very  young 
and  I'd  like  to  think  it  over. 

Daddy  Tyl 
That's  right  enough.  .  .  .  He's  very 
young  too;  but  you  won't  find  a  better  boy 
in  the  whole  country-side.  .  .  .  He's  a 
strong,  healthy  lad,  with  a  civil  tongue  in 
his  head,  and  he  works  like  a  nigger.  .  .  . 
Think  it  over  by  all  means,  only,  as  this  is 
a  holiday,  there's  no  harm  in  their  kissing 
each  other;  and  let's  see  them  do  it:  it's 
220 


or,  The  Blue  Bird  Chooses 

good  for  one!  .  .  .  (Seeing  that  Tyltyl 
and  Joy  do  not  move,  he  pushes  them  close 
together.)  Well?  .  .  .  Look  at  them: 
they  don't  want  to  now  I 

Tyltyl 
{In  a  whisper,  to  Joy,  as  he  kisses  her.) 
It  was  better  when  we  were  by  ourselves, 
wasn't  it? 

Joy 
{Also  whispering.)     Yes,  it  wasl 

Tyltyl 
They  were  right,  weren't  they  ? 


Joy 

Who? 

Tyltyl 

The  others. 

Joy 

Yes. 

221 

The  Betrothal 

Tyltyl 
Don't  say  a  word  to  any  one :  it  is  our 
secret,  yours  and  mine.  .  .  . 


Curtain 


222 


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A5F4E 


The  "betrothal. 


Tooi^^^iP' 


